The Danish composer Axel Borup-Jorgensen (1924-2012) was one of the 20th century's great "silent individualists." Although largely self-taught, he was the first Danish composer who attended the Darmstadt Summer Courses for New Music. Without a doubt, the avant-garde of the sixties exerted a strong influence on Borup-Jorgensen's sound world, but he never embraced any specific "ism," following instead his own intuition and his extraordinary sense of organizing sound. Borup-Jorgensen's handwritten scores are of almost calligraphic quality and beauty and reveal him to be a meticulous craftsman and magician of tone color, traits on full display on this very special tribute in honor of the composer's centenary. The vast majority of his work is devoted to chamber music. Here he enjoyed the freedom and inspiration to work closely with the artists and explore new sonic possibilities of their instruments. This album is the final entry in a decade long documentation of the life and work of Axel Borup-Jorgensen's music, a project that has seen multiple critical triumphs, innovative concert installations and even an award-winning video. The animated short film for his masterpiece MARIN won OPUS Klassik AWARD as best DVD/Blu-ray as well as the Danish Radio P2 Prize for Best ALBUM. For those curious to explore the composer's unique style, this is an ideal entry point, featuring works from throughout Borup-Jorgensen's creative journey, in equally diverse and colorful arrays, including his only woodwind quintet and a work employing junk yard percussion, performed by the leading Danish chamber orchestra the acclaimed Esbjerg Ensemble. Joining the Ensemble for this recording, the 8th album in OUR Recordings series with music by Axel Borup-Jorgensen, is the award-winning pianist Kristoffer Hyldig, and special guests, all captured in crystalline clarity in the DXD audio format by producer Mette Due.

In Samson Tsoy's artfully designed solo debut recording, ideas reverberate across the centuries as Brahms's elaborations of works by two past masters are juxtaposed with reworkings of his own music by two later composers. Lauded for his originality and 'inexhaustible imagination', the young pianist and celebrated duo partner of Pavel Kolesnikov is fascinated by the intimate and poignant role of an interpreter. Questioning the subtle difference between interpretation and creation, Tsoy weaves together this complex tapestry of versions, variants and variations. Forming the core of this gripping recital, Variations and Fugue on a theme by Handel, Op. 24, is a series of carefully crafted miniatures. Bach's Chaconne, brilliantly arranged for the left hand by Brahms, is another instance of a genius humbly sourcing inspiration while interpreting the masterwork of his predecessor. The rest of the recital points to Brahms's successors Busoni and Reger, who arranged six of Brahms's Chorale Preludes, Op. 122, and Vier Ernste Gesange, Op. 121, respectively.

This is the first volume in a series of three recordings from AMC with the Philharmonic Orchestra of Bogota, which will be the first recording made in Latin America of all of Beethoven's concertos for piano and orchestra, including the piano version of the violin concerto. Beethoven's Piano Concerto no 4 and the Violin Concerto in the version for piano are musical siblings, composed end to end, one after the other in what seems to be a time of relative tranquillity. Written in the keys of G major and D major, which in Beethoven's world seem very much connected to light and happiness, both concertos radiate a positive view of life. As one of the leading Scandinavian pianists, the award-winning pianist and composer Niklas Sivelov has taken his career to new international heights with an extensive catalogue of recordings for such labels as BIS, Caprice, Dacapo, Naxos, Toccata Classics and AMC Classical, some of which have been awarded the Diapason d'or, CHOK and the Penguin Rosette. His concert career spans four continents, including venues such as the Leipzig Gewandhaus, the Barbican, Carnegie Hall, Kennedy Center, Tivoli Copenhagen and the Atheneum in Bucharest. He has won critical acclaim and enchanted audiences for his artistic temperament, impeccable technique and spellbinding stage presence. The album is produced by Daniel Davidsen and the recording is made in a circular formation, which gives a very natural and dynamic sound.

To mark the November 2014 publication of Philip Glass's 20 Etudes for piano, SOMM Recordings is proud to release a 10th Anniversary Special Edition of Philip Glass Selected Etudes performed by the versatile and eclectic pianist and composer, Giusto Di Lallo. Di Lallo poses a question to his audience that is typical of his creative vision: "Why offer the public another recording of Glass's Piano Etudes when there are already dozens of them out there?" The answer is that when he first acquired the sheet music for the Etudes and began to analyse and study them, he was struck, "almost with disappointment," by the fact that many pianists had deliberately transformed the sense of some of the Etudes. The main discrepancies that caught Di Lallo's attention were primarily regarding the tempi, although he also realized that pianists had often altered the dynamics and phrasing as well. In wishing to celebrate the tenth anniversary of the publication of Glass's Etudes then, Di Lallo chose a selection of the pieces, and attempted to stay as faithful as possible to the original intentions of the composer. Using a scholarly approach, he adhered strictly to the score to preserve the tempi, dynamics, and phrasing exactly as noted. His aim was to restore the work to it's original spirit and present the Etudes in their most authentic form, creating a sort of reset point after ten years of several "personal" interpretations. Piano etudes, or studies, come from a long compositional tradition. Initially, they were intended as exercises for pianists to master a specific aspect of keyboard technique-be that scales, arpeggios, trills, and the like. During the 19th Century, in the hands of composers such as Chopin, Liszt, Schumann, and Brahms, the etude evolved into a true art form. That tradition continued into the 20th Century with composers like Scriabin, Rachmaninoff, and Debussy. It is within this tradition that Philip Glass's Etudes find their place. Composer-pianist, Philip Glass, widely known as one of the most celebrated and prolific of contemporary composers, describes his work as "music with repetitive structures." His unique style is strongly recognizable in each of the 20 Etudes, and he has referred to them as a self-portrait of sorts. Until their publication in November 2014, he was almost the only person who had performed the pieces live. Giusto Di Lallo is renowned for an innovative approach that bridges genres and cultures.�Since 1996, he has been a dynamic presence on the concert scene, making more than 1,800 appearances both as a solo pianist and accompanist. His performances showcase a wide-ranging repertoire that spans classical, contemporary, and experimental music. Recent concerts include a series-held in both Italy and the UK-featuring Philip Glass's Etudes for piano, selections of which he now presents in this anniversary release.

Themes of art song, poetry, and spirituality run throughout Poème Mystique, the second solo album by Korean-American violinist Danbi Um. Following Danbi’s acclaimed solo debut album Much Ado – a showcase for her virtuosity and gilded tone – Poème Mystique explores works of lyrical beauty and profound personal expression. Richard Strauss’ Violin Sonata, written in the year he met his future wife, is imbued with romance and intimacy. Ernest Bloch’s Second Violin Sonata, the title work of the album, is by turns ecstatic, spiritual, and fantasy-like. Inspired by a dream, Bloch incorporates a vast range of spirituality, including motifs from his Jewish-themed works, the Gregorian Credo, Mass Kyrie, and traditional Amen. Danbi weaves two shorter works amongst the sonatas. Gabriel Fauré’s Après un rêve (“After a dream”), originally a French art song, becomes an exquisite song without words in this transcription for violin. The album concludes with Franz Schubert’s Ave Maria, likewise originally for voice and piano, presented here in an arrangement by August Wilhelm. Danbi’s refined collaborator is Finnish pianist Juho Pohjonen. Together they deliver a performance that is at once technically virtuosic and emotionally nuanced.

The world premiere recording of Durey's L'Offrande lyrique (Op. 4), six songs set to texts by Rabindranath Tagore (recipient of the 1913 Nobel Prize for Literature) in French translation by Andre Gide, is a highlight of this collection. Musically inspired by the atonality of Arnold Schoenberg's The Book of Hanging Gardens, and often credited as the first piece of free twelve-note technique in French music, L'Offrande lyrique navigates a harmonic language which can hold clarity and vivid colour in Lumiere ! ma lumiere !, or blur into dark heavy clouded gesture in Les nuages s'entassent, effectively supporting Tagore's language. At times, the words seem to muse over seemingly unconnected piano motifs, before meeting- sometimes harmonically, sometimes not-sometimes walking the same path, other times meandering separately again. For Paris 1913 to include a world premiere recording of such important music, written over a century ago, is thrilling, and places Durey firmly alongside his contemporaries in the cafes and salons of pre-war Paris. Far from being overshadowed by the better-known composers in this anthology, these songs stand as a testament to the strength of French melodies of the era. � Andrew Matthews-Owen & Claire Booth

First recording by a youngest piano duo of sisters, who already won several competition. The recording is a real business card with music by Rachmaninoff, Liszt and Piazzolla. Technically impeccable and full of energy, they convey to the audience the enthralling emotions of Liszt and Rachmaninoff piano duo masterpieces.

Roctet proposes two String Octets both composed in the same year, 1900. The 18yo Enescu brings fragments of his Romanian background and Viennese and French musical upbringing together into a unity and thus draws us into his inner world. The 21yo Respighi�goes the other way: he becomes the filmmaker with the dramatic flair of capturing beautiful images in music. Roctet has already released a Mendelssohn/Afanasyev Octets disc (CC 72822). Diapason:�Roctet certainly does not play lukewarm, Lively and full of energy!

Hurlstone's Cello Sonata in D major (1899) was written for the noted cellist and composer May Mukle. In his review of the score, Havergal Brian opined that Hurlstone's sonata 'shows ripe and mature musicianship. The Adagio Lamentoso is unusual in it's sustained eloquence. The slow movement and the lovely final Rondo standing out in a rare and attractive work'. The manuscript of Swinstead's Cello Sonata was discovered by the pianist Clive Williamson, while he was clearing the house of Vivian Langrish and his wife Ruth Harte, who were friends of Felix Swinstead. It is possible that this F major sonata may have been written just before the composer's death and never given a public performance. According to Lionel Handy, Ruth was 'a second study cellist and Swinstead may have thought a run-through, if not a performance, might be possible, but there is no record of any performance nor date of composition as yet'. Doreen Carwithen's Cello Sonatina (1944) draws upon the stringed instrument's sonorous, lyrical qualities. The often striking piano material is crucial to the unfolding narrative, rather than offering mere accompaniment and creates a genuine dialogue between the two protagonists. Bridge's two-movement Cello Sonata was begun in 1913, but not completed until 1917. Bridge always looked fondly upon the Cello Sonata, which has proved to be one of the composer's most popular chamber works and remains the most regularly played of all his substantial pieces for two players.

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.

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.

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.