Chamber music for violin and harpsichord resp. Harpsichord alone performed in the Bachhaus which now is used as a Bach museum

With it's latest CD, the Trumpet Consort, under the direction of renowned trumpeter Matthias Hofs, takes you into a fascinating world of trumpet sounds that unites tradition and innovation in a unique way. With exceptional skill and impressive arrangements, the ensemble showcases the entire range of the trumpet family - from festive baroque works to modern compositions. Experience the masterful variety of sounds created by the special collaboration between experienced musicians and young talents.

As winner of the international conducting competition "Guido Cantelli", Eliahu Inbal was already in demand as a guest conductor with the world's leading orchestras at the age of 26. Over the years, he has been principal conductor of the Frankfurt Radio Symphony Orchestra, the Orchestra del Teatro la Fenice, the Orchestra Sinfonica Nazionale della RAI Turino, the Konzerthausorchester Berlin, the Czech Philharmonic Orchestra and the Tokyo Metropolitan Symphony Orchestra. The present album contains recordings from 1971 and 2012.

The organ works are played on the Renaissance organ (around 1580) in the Silver Chapel of Innsbruck court church. Around that a colourful program of typical sacred music of that time.

Svend Simon Schultz (1913-1998) is one of the most remarkable Danish composers and as a conductor he made a significant contribution to Danish songs, not least during his 30 years as head of the Danish Radio Chamber Choir. He was constantly composing and wrote music for movies, chamber ensemble and especially for choir. Svend S. Schultz made a stamp on Danish choral music which is still beaming today. His songs are known by every Dane and his production probably one of the most encompassing of all Danish composers. This is the third CD of a project to record all his nearly 90 choral songs, all of them musically and technically on the highest possible level.

A live recording of Bruckner's most beloved symphony

The "Eleven Choral Preludes for Organ" op. 122 were completed by Johannes Brahms between May and June 1896. It was not until later, in 1902, that op. 122 was published posthumously. At the same time, Brahms' op. 122 did not escape the attention of the Italian composer and pianist Ferruccio Busoni, who decided to transcribe six of the eleven choral preludes for piano. Over the course of his life, he transcribed numerous works by various composers for piano, including those by Bach that were intended for organ, harpsichord or violin. It is little known that Max Reger, in addition to his importance as a composer, was also one of the most important arrangers of the works of great colleagues. He arranged works by almost all the great masters, from Mozart to Richard Strauss. Reger always admired the compact form and the almost ascetic compositional discipline of Johannes Brahms. His admiration for the great North German is confirmed by the elaborate transcriptions of the "Five Slow Movements" from his four symphonies. Reger does not write them in a typically pianistic style, but rather he summarizes the entire melodic and harmonic richness in a kind of symphonic script. These transcriptions are the work of a brilliant musical mind who was able to grasp the music as a whole and, based on a complete understanding of the compositions, to present them in a new guise. The arrangements are extremely demanding for the pianist. It is not only a matter of master- ing the sometimes considerable and often far-reaching mass of notes, but also of allowing the themes woven into them to emerge, as is the case in the orchestra through the characteristics of the individual instruments. Brahms' well-known preference for the so-called "conflict rhythms" makes the task even more difficult. The rarities, so rich and demanding in sound and structure, are appearing on recording for the first time and should inspire many friends of the works of these two composers to take a closer look at them.

Old Russian folk melodies; the traits of human life (joy, love, illness, poverty, death, religion); a high aesthetic-musical realism as a compositional commitment. These are the ingredients in Musorgsky's Lieder, already appreciated by Liszt and Debussy, and now available in this box set.

The protagonist of this new album is the Fairy Guitar Quartet, a group born in 2020 from the meeting of four guitarists united by a strong passion for chamber music. Volver, the album that marks their recording debut, explores the great Argentine musical repertoire with a new research approach, offering an evocative musical journey along the multiple ties that unite Italy to the South American country and allowing you to experience and rediscover intense emotions. In a story of continuous departures and returns, complex fee- lings emerge, chapters with great evocative power that belong to the shared cultural heritage. A precious opportunity to rediscover a world that is always full of charm, a reflection of the creative encounter of dif- ferent cultures (African, indigenous, Spanish and Italian), through a listening journey that develops along the subject of Volver, a theme that resonates deeply in Italian and Argentine culture but also, more generally, in every corner of the southern hemisphere: the sadness of separation from what you love and the hope of re-embracing your roots. With the surprising arrangements of Gianvincenzo Cresta and Francesco Fausto Magaletti, the album features songs by Carlos Gardel, Anibal Troilo, Ariel Ramirez, Gustavo Leguizamon, Daniel Toro and Astor Piazzolla.

Stefania Neonato is involved in both historical performance practice on historical instruments as well as the modern piano playing tradition. Christine Busch can be heard as a soloist and chamber musician with both the modern and baroque violin in concerts worldwide. The fortepiano used for the present recordings come from the Viennese workshop of Nannette Streicher and has the serial number 1060. Ludwig van Beethoven himself was good friends with the couple and played their instruments. The three selected sonatas on this album span a period of fourteen years, from 1798 (Op. 12/1 and 3) to 1812, the year of the composition of Op. 96 - two years before the piano used here was completed. Nannette Streicher opened her piano workshop together with her husband and her brother in Vienna at the end of the 18th century. They built well over a thousand instruments, of which only around forty fortepianos have survived to this day.

This album comprises compositions for various Asian instruments from Japan to India, some combined with Western instruments. Traditional performance techniques figure more prominently in some pieces than in others. Most of these recordings were previously released, but are long out-of-print. They have benefitted from recent advances in editing technology.

Robin Stevens' A Questing Soul, his fifth album with Divine Art, offers a compelling portrait of a composer whose work has evolved over nearly three decades. This collection spans a broad stylistic spectrum, charting Stevens' progression from the lush Late Romanticism of his early works to the more dissonant and experimental idioms of his later compositions. Throughout, Stevens balances technical innovation with an underlying sense of lyricism, humour, and tonal clarity, making this album a rich listening experience for those who appreciate the depth and variety of contemporary chamber music. The two most substantial works on the album-Fantasy Sonata and Sonata Tempesta-were composed during Stevens' late twenties and represent key milestones in his early output. The Fantasy Sonata, written for violinist Christine Townsend and pianist Stephen Robbings, presents an intensely focused sound world built around the octatonic scale. It's single-movement structure moves from a soulful, lamenting introduction to more turbulent, faster sections, culminating in a joyfully intense peroration. Sonata Tempesta, in contrast, is a large-scale, four-movement work whose expansive form allows Stevens to weave together moments of lyrical beauty and stormy intensity. Both pieces showcase Stevens' ability to combine complexity and accessibility, creating compositions that are intellectually stimulating yet emotionally resonant. The album also includes a number of shorter works, or "miniatures," which offer Stevens the opportunity to explore new compositional ideas on a smaller scale. Pieces like Stratospheric! For solo violin and Toccata for solo piano demonstrate his flair for virtuosity and dynamic contrasts, while others, such as Cri de Coeur, evoke more contemplative, intimate soundscapes. These miniatures are fascinating in their own right, offering a glimpse into the composer's more experimental tendencies. One of the album's more unusual works, Scherzo in Blue, brings jazz influences into Stevens' instrumental music-a rarity in his oeuvre. The piece is infused with "blue notes" and jazzy piano chords, creating a playful yet sophisticated contrast to the more classical structures found elsewhere on the album. The title track, A Questing Soul, reflects the essence of the album: a compact tone poem for solo piano that alternates between dreamy lyricism and muscular, assertive themes. The piece encapsulates Stevens' ability to juxtapose contrasting musical ideas, leaving listeners with as many questions as answers-an approach that defines much of his work. With it's blend of large-scale sonatas, experimental miniatures, and the intriguing title track, A Questing Soul offers a comprehensive view of Robin Stevens' compositional range. This album will appeal to those with an interest in the intersections of modernism, Romanticism, and contemporary chamber music.

Among the various recordings of H.v. Karajan of Beethoven's Missa Solemnis and Mozart's Requiem (no less than 4 for each of them), the 1958 and 1961 recordings stand out among critics as perhaps his most important interpretations of this repertoire. The Missa, never released by EMI, was made available by Testament more than 20 years ago. It has not been available on the market for some time. It is actually one of the most extraordinary interpretations of Beethoven's religious masterpiece, also due to the extraordinary sound quality achieved by the Columbia technicians of the time. Mozart's Requiem was Karajan's first recording of this work. Even this production, which has always been available in the DG catalogue, is currently very difficult to find.

Previously unreleased recordings of Sweden's most legendary jazz groups and artists, curated from the Swedish Jazz Archives

The long-awaited vinyl print of Swedish jazz bassist Svante Soderqvist's celebrated solo album The Rocket. Intimate and atmostpheric jazz that deals with the deep questions of life and coexistense.