This recording fills a gap in our understanding of Sebastian Raval (c.1550-1604), a composer who has proved elusive to posthumous fame. Of noble origin, he was born on an unknown date in the region of Murcia (possibly in Cartagena). He fought in the Siege of Maastricht (1579) with the Spanish Tercios in Flanders, and, severely wounded, retired to Italy where he became a friar and worked as a musician. Although musician-nobles were abundant in the 16th century, the presumption of a certain amateurism has marginalized them in the gene- ral historical narrative. Additionally, following a musical argument with Sicilian composer Achille Falcone, Raval was painted unfairly by partisan critics as arrogant and untalented, a view that persisted in Italian historiography, whereas in Spain he was largely ignored (most likely due to a career spent outside his home country). Yet the canzonette on this album dispel any doubts about Raval's talent. A light genre setting anonymous texts inspired by Petrarch in a madrigalian vein, canzonette - and particularly Raval's - abound with themes of love. Although this genre was not inclined towards musical experimentation, there is a certain evolution from the classic canzonette of Orazio Vecchi (in the 1580s) to later examples by Luca Marenzio; Raval's compositions, created in his pre-Roman period, fall at an intermediate point therein. The choice of four voices with high tessituras and a baritone follows Vecchi's style. Raval however uses a more imitative language, and in this aspect he is closer to Marenzio without reaching the latter's declamatory style. Not only is Raval's book of ricercari the only one composed by a Spanish musician; it's content reveals a rare contrapuntal ingenuity and a restless, innovative spirit that cannot go unnoti- ced. The volume reached us by sheer good fortune. Only one copy of each part-book was preserved in the archive of the cathedral of Valladolid. Thanks to this, today we can enjoy this rare music, not just for it's artistry but also for it's delicacy.

Flores de Musica pera o instrumento de tecla & harpa is the only known work of Portuguese composer Manuel Rodrigues Coelho. Printed in Lisbon in 1620 and boasting more than five hundred pages, Coelho's Flores de Musica is one of the largest music works printed in the seventeenth century. Celebrating the 400th anniversary of it's original publication, a new edition in three volumes has been published with the research being used to inform this major new recording series. Harpsichordist Fernando Miguel Jaloto presents seven tentos and a piece based on Susanne un jour by Orlando di Lasso recorded on a single-manual harpsichord, after the instrument from 1738 by Christian Vater (1679-1756), built by Klinkhamer Harpsichords & Fortepianos in 2009.

The magic of art needs a frame, a somewhat solid container to hold the freedom that can only be found once we integrate some form of structure. And that also holds in every other area of life. We all need a frame, a structure, a rhythm, or else, we fall apart. This human form needs the body, and yet it transcends the limitations of the body - through art.

To Anglican church musicians around the world, Herbert Murrill is well-known for his wonderful�Magnficat�and�Nunc Dimittis in E major. But there is a treasure trove of other music waiting to be rediscovered, including his many songs which are featured here in first recordings.

Already with their first album "Tanz' von innen", the Divinerinnen ensemble impressed with this slender sound ideal which challenges the typical sound of Viennese light music. Three years later, this is followed up with their new album "divinerisch!", for which the seven musicians seem to have distilled their style and aired it out - the Landler (country dance) doesn't sound like leather soles on a wooden floor, but like bare feet on a summer meadow. The cozy bedtime heaviness of the late hour, of wine and conviviality, which many associate with Viennese music, is not at all their thing. The Divinerinnen ensemble gives the melodies a radical breath of fresh air. And when you listen, you realize that as much as you like to wallow in melancholy and world-weariness from time to time, right now you need a new beginning and clarity. That's where the divinerisch way rises - to airy heights, where you can feel a fresh cool breeze in your ears: sharp and spicy, radiant and sparkling sound, delicate and light-footed melodies. More frizzante than spritz. Many a typical Viennese motif is thoroughly aired out. Many a newcoming piece is self-confidently divinerized. And when they dip a toe briefly and elegantly into the dirt during a spicy verse, you find them terribly charming and a bit sexy besides, these Divinerinnen. (Sandra Hupfauf)

The Italian composer and pianist Mario Tarenghi (1870 - 1938) is part of the great romantic music tradition of Lombardy, where the piano occupies a favoured place. At first glance, his piano roduction would seem to be characterised by collections consisting of short pieces with a strong melodic vein and a deliberately morose virtuosity intended for domestic use, sometimes almost pedagogical, rather than for large concert halls; for this reason, the few piano scores reissued in the present day are only included in a few anthologies for beginner pianists. Despite the publishing success of his music during his lifetime, Mario Tarenghi is still a little-known figure on the Italian and international music scene and, a hundred years later, even recordings of his music are still virtually non-existent.

Cellist Philipp Schupelius, winner of the 2023 German Music Competition, has just been named one of the 30 most exciting young musicians by Classic FM. His debut album is being released on the GENUIN label as part of the Primavera series, created in collaboration with the German Music Council. Schupelius effortlessly bridges the gap between the Venetian Baroque of Antonio Vivaldi (with the finely nuanced accompaniment of the Metamorphosen Berlin Chamber Orchestra under the direction of Wolfgang Emanuel Schmidt) and the dazzling late-Romantic sounds of Sergei Rachmaninoff (brilliantly supported on piano by Yukino Kaihara). He masterfully captures both Vivaldi's delicate Baroque ornamentation and Rachmaninoff's sweeping passion!

80 minutes of music of the very finest quality, a mix of well-known pieces and no fewer than twelve premiere recordings, symphonic, chamber music, chanson and solo works, instrumental and vocal music from the Baroque, Classical, Romantic, Classical Modern, Jazz and New Music periods. A carefully put-together programme that is best enjoyed in one sitting.

Chorus sine nomine, founded in 1991 by Johannes Hiemetsberger, is one of the most distinguished and innovative concert choirs in Austria. On this CD, the choir presents motets by Anton Bruckner. Bruckner simply called them sacred choruses, as the reason for their composition can usually be traced back to a liturgical occasion. The six works on the CD correspond to such liturgical interludes: Graduale (Christus factus est, Locus iste, Os justi, Virga Jesse), Offertorium (Ave Maria) and a hymn for the Good Friday liturgy (Vexilla regis). As an organist, Bruckner was admired above all for his improvisations. He was particularly admired for his high contrapuntal skills, in which he demonstrated his craftsmanship in fugue and imitation. The style of the fugal parts of his improvisations was based on Baroque patterns (such as Handel), while in other, more imaginative parts the tonal language of his organ playing became increasingly typical of Bruckner. Martin Haselbock establishes this connection to Bruckner with his organ improvisations.

Over time, the memory of the brilliant virtuoso that was Eugene Ysaye (Liege, 1858 - Brussels, 1931) ended up supplanting his status as a composer in the collective memory. It should be remembered, however, that Eugene Ysaye created, through his works, a fundamentally new and original genre, distinguished by a science of writing and harmonic richness. This album brings together concert works by Eugene Ysaye which, with the exception of the Saltarelle carnavalesque, have never been recorded in their orchestral version. It therefore invites us on a unique journey into the composer's sound universe, from his first to his last compositions written for soloist(s) and orchestra.

Storyville Records is pleased to announce the release of In Rome, a new album by Danish bassist Thomas Fonnesbaek alongside esteemed jazz musicians, pianist Enrico Pieranunzi, saxophonist Rosario Giuliani, drummer Roberto Gatto and singer Valentina Ranalli. The album is set for release on November 1, 2024. This recording consists of 11 original compositions, 9 by Pieranunzi, 1 by Fonnesbaek and 1 by Gatto. Thomas Fonnesbaek is considered one of the most important and distinctive bassists on the European jazz scene today. His virtuosic technique, "Nordic sound" and ability to craft cohesive solos place him in the lineage of Danish bassists like Niels-Henning orsted Pedersen, Bo Stief and Jesper Lundgaard, while also showing kinship with greats like Dutch bassist Hein van de Geyn and prominent Swedish bass players. Nevertheless, Fonnesbaek's style is uniquely his own, honed through a self-taught journey that captivates audiences with a rare ability to evoke Duende - the inexplicable power of attraction that moves listeners emotionally, a concept coined by Spanish poet Federico Garcia Lorca. For those who have had the privilege of experiencing Fonnesbaek live, they will recognize this Duende in his playing. He often takes risks that challenge both his fellow musicians and audiences, creating moments of magic. In Rome captures these moments, highlighting Fonnesbaek's collaboration with some of Europe's finest musicians. At the core of the album is the partnership between Fonnesbaek and Enrico Pieranunzi, one of Europe's most revered pianists. Pieranunzi, known for his collaborations with the likes of Chet Baker, Mark Johnson, Paul Motian, and the legendary film composer Ennio Morricone, brings his extensive jazz and classical music background to this recording. Having recorded numerous albums together, Pieranunzi and Fonnesbaek share a musical chemistry that fuels this project. Joining the trio is Roberto Gatto, a drummer celebrated in European jazz circles. His elegant, sensitive approach enhances the group's interplay, while Rosario Giuliani on saxophone and Valentina Ranalli on vocals further elevate the music. In Rome is a testament to the creativity and mastery of European jazz. This album is jazz at it's finest!

A unique take on Mozart's music from the organ loft. Mozart wrote sparingly for the solo organ - a relatively early collection of short Epistle Sonatas for liturgical use, and later on a few more individual pieces for a new mechanical organ. In neither case was he using the full extent of a large instrument as exploited by his Baroque predecessors. At the same time, Mozart himself was no stranger to the organ loft; he would have been regularly playing the instrument at St Stephen's Cathedral in Vienna had his plans come to fruition and he had lived long enough to attain the post of Director of Music there. Manuel Tomadin has imaginatively filled in this gap in the Mozart catalogue, as it were, with his own transcriptions of pieces particularly well suited to the soundworld of the organ. The A minor Sonata K310 shares a surging, Sturm und Drang sensibility with the two fantasias, in C minor and D minor. In turn this character lends itself to the Gothic grandeur of the 'king of instruments', when sensitively registered and nimbly executed. The coloristic possibilities of the organ, it's dynamic range and effects of perspective, are also put to dramatic use in bringing to life two of Mozart's opera overtures, from Cosi fan tutte and Die Zauberflote. Tomadin does not neglect the roots of Mozart's music in the Baroque, with a transcription of the rococo G major sonata K283 which he wrote at the age of 18, plus a much less familiar Preludio and Capriccio in C K394. In both of these pieces, Mozart was drawing on the legacy of CPE Bach, who had given him lessons as a child - a period to which Tomadin pays tribute with another rarity, one of the 'London Sketches' preserved in notebook form from the family's stay in the English capital. Tomadin has chosen an original and historically appropriate instrument for this fascinating exploration of Mozart on the organ, built in the late 1780s by the Montesanti firm for the parish church of Governolo in the province of Lombardy. The booklet includes a full specification of the organ, plus Tomadin's own introduction to the repertoire and his approach to it as a transcriber and performer. - Wolfgang Amadeus Mozart (1756-1791) had a profound connection with the church organ, an instrument that played a significant role in his musical development. As a child prodigy, Mozart was exposed to the organ in church settings, where he often performed. The organ's grandeur and complexity influenced his compositional style, particularly in his sacred music. - Although Mozart called it "The King of instruments" he wrote comparatively few works for the organ. Organist Manuel Tomadin professes his love for the composer and his considerable skill as an organist by transcribing several works for the organ: the overtures Cosi fan tutte and Die Zauberflote, two piano sonatas K 283 and 310, and several small keyboard works, perfectly suited for performance on the organ. - Played on a historical instrument: the 1788-1790 Andrea & Luigi Montesanti organ of the Parish Church of Governolo, Italy. - A feast of colours and timbres, celebrating the genius of Mozart's eternal music!

The Forty Hours devotion is a mysterious celebration that consists of displaying the Blessed Sacrament on the altar for the time Christ remained in the tomb. In Spain this extraordinary prayer, lasting over three days, included siestas during which chamber vocal works were sung interspersed with instrumental pieces. Focusing on the music of Sebastian Duron, this album recreates the sound of one of these siestas using cathedral sources and the distinctive sonority of the dulcians. It mainly features tonos and villancicos, whose popular texts are a marvellous blend of simplicity and sophistication. The composer's art undoubtedly lies in expressing religious emotion using the same means as profane emotion: we are in church and at the same time surrounded by nature, like in a poem by Saint Francis of Assisi.

Konstantin Reinfeld and Benyamin Nuss are releasing "Merry Harmonica", a Christmas album that presents well-known Christmas carols in new, surprising arrangements. The idea arose spontaneously during a performance in Dubai at EXPO 2021. Reinfeld, who has been fascinated by the harmonica since his youth, brings the instrument to the album with emotional depth. The repertoire includes classic Christmas songs and international hits, reinterpreted in different styles such as jazz, blues and Latin. Prominent guest musicians such as Alma Naidu and Marc Marshall further enrich the album.

The CD entitled Contrappassi sees the two protagonists, Leonardo Zunica on piano and Leandro Lo Bianco on electric guitar, engaged in compositions by contemporary authors, with pieces that find poetic-musical inspiration in the fascinating and complex world of Dante. A program with broad musical visions that transport you to an unexpected soundscape, with the two performers who give life to moments and atmospheres of surprising suggestion. The CD's lineup opens with the Sonata n. 1 "DANTE SONATA" for piano by the Danish composer Poul Ruders (born in 1949), a work divided into two distinct movements with contrasting characteristics. The roots of the Dante Sonata are not only linked to Dante's canticles but also to the author's admiration for Liszt's Sonata in B minor. Dante, therefore, seen through the eyes of Liszt. The piece by Ruders is followed by MALEBOLGE for electric guitar and piano TRE CANZONI DI FRANCESCO LANDINI for piano with electric guitar ad libitum by the Italian composer Gabrio Taglietti, a journey that leads to the VIII circle of Hell. Taglietti wanted to alternate his three pits with transcriptions for piano, and in the last case for piano and electric guitar, of as many ballads by Francesco Landini, a composer of the fourteenth century, the genre in which Landini excelled. This singular listening journey ends with a piece by Leandro Lo Bianco, here in the role of composer as well as performer: THREE IMPROVISATIONS ON R. RAUSCHENBERG "DANTE'S INFERNO" for solo electric guitar and electronic devices.