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.

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.

Music of the (early) Baroque evokes sympathy, provides opportunities for identification and serves as a vehicle for moral or religious teaching. And finally, the Baroque musical 'exploration of the soul' as a soundtrack of life can and intends to give support, comfort and strength. Soprano Isabel Schicketanz's recording displays this impressively. It is a compilation of towering works from the 17th�century.

Despite all the warnings from the prophets of doom, Bruckner's music has thankfully prevailed. Bruckner was always in search of the ideal structure for his symphonies. Dissatisfaction and perfectionism both caused him anguish and served as motivation in his determination to advance on an artistic level. His goal was to compose absolute music in the spirit of Beethoven. It is his Third Symphony above all, "in which the trumpet introduces the theme", that encapsulates this striving for absolute music - music that is timeless and continues to touch people's hearts.

After studying at the University of Leipzig and spending several years as an organist at the city's Nikolai Church, the Saxon musician Johann Rosenmuller had to abruptly leave his position around 1655 for reasons less than honorable. He eventually found his way to Venice, where he worked at St. Mark's Basilica and the renowned Ospedale della Pieta. Among the many musical "souvenirs" he later brought back from the South was a new church style, infused with a vibrant colorfulness previously unknown in the more austere musical traditions of the North. It's no wonder that worshippers felt as if they were hearing angelic choirs and left the sacred concerts with their faith renewed. This�musica coelestis�continues to capture pure hearts and inspire a better life, even 340 years after the great composer's death.

Poema 1. Ad Astra is the first in a series of recordings by Canada's National Arts Centre Orchestra in which Music Director Alexander Shelley asked Canadian Composers to craft compositions that respond to masterpieces by German Composer, Richard Strauss (1864-1949). Kelly-Marie Murphy responds to Don Juan and Kevin Lau to Death and Transfiguration. This latest cycle of recordings, a dialogue between the past and our modern era, strikes a perfect balance between the exhilaration of the new and the charm of the timeless classic.

The great cellist Jacqueline Du Pr� would have been 80 years old on January 26, 2025, if illness had not taken her too early at the age of 42. This LP brings together Camille Saint-Sa�ns' famous 1st Cello Concerto with Jackie's husband Daniel Barenboim at the baton, and Frederick Delius' rarer Cello Concerto, which perfectly fits with Du Pr�'s playing and sensitivity (this time accompanied by Sir Malcolm Sargent). Warner re-released on LP a few years ago the 1968 EMI studio recording of the Saint-Sa�ns Concerto, also with Barenboim (but with the New Philharmonia Orchestra). The live recording on this new vinyl was made three years later, in 1971, with the Philadelphia Orchestra in it's city, and released on CD at the end of the 90s by Teldec. It is released here on vinyl for the first time.