Helmut Lachenmann, who celebrates his 90th birthday in the music year of 2025, has composed several milestones in contemporary classical music. Sir Simon Rattle and the Bavarian Radio Symphony Orchestra are dedicating themselves to some of these exceptional works. In his tuba concerto Harmonica, Helmut Lachenmann explores the limits of sound - with music that oscillates between eruption and silence, by means of "strictly constructed denial" (Lachenmann) and by deliberately disrupting the familiar, and eludes socially preformed listening expectations. This appeal to the audience's self-awareness remains as relevant as ever. The soloist is Stefan Tischler, principal tuba player of the Bavarian Radio Symphony Orchestra, and the live recording with the BRSO conducted by Sir Simon Rattle was made on March 22, 2025. Klangschatten - mein Saitenspiel by Helmut Lachenmann deals with the "verso" of sound, it's suppressed and "unwelcome" components. The spectrum here ranges from toneless or muffled sounds to differently coloured noise and clear tones. Lachenmann himself described the piece as " an offer of expressive intensity that reflects the bourgeois longing for beauty and seeks to fulfil it, that is, to overcome it." The work was performed by the Bavarian Radio Symphony Orchestra under the baton of Matthias Herrmann on May 23, 2025 in the Herkulessaal of the Munich Residenz. Helmut Lachenmann, born in Stuttgart in 1935, is one of the most renowned German composers of contemporary music. He studied piano, music theory and counterpoint in Stuttgart and composition with Luigi Nono in Venice. The first public performances of his works took place in 1962 at the Venice Biennale and at the Darmstadt Summer Courses for New Music. He taught composition in Hanover (1976-1981) and in Stuttgart (1981-1999), and has given numerous master classes in Germany and abroad. His works are performed by internationally renowned players and orchestras all over the world. Helmut Lachenmann has received numerous awards, including the German Music Authors' Prize of GEMA (2015) for his lifetime achievements and, most recently, for his compositional work, the 'President of the French Republic Prize' from the Academie Charles Cros (2025).

Following her acclaimed debut Diaries, pianist Tiffany Poon returns with Nature, an album that explores the evocative power of French music in capturing the beauty of the natural world from the delicate shimmer of water to the quiet mysteries of the forest and the animals found within. Nature, which Tiffany recorded at legendary Provence recording studio Miraval Studios (Pink Floyd, Sade, Nick Cave and the Bad Seeds) with producer Damien Quintard, brings together works by French composers across centuries, united by an instinctual admiration for the world around them. Guided by intuition and deep personal connection, Tiffany's curated selection featuring pieces by Ravel, Debussy, Rameau and Daquin, moves beyond the structured rigor of Germanic tradition into the fluid, sensuous soundscapes of the French repertoire. Inspired by Rameau's belief that music is rooted in nature itself, she curates a program reflecting her love of animals, woods, and water - translating them into vivid musical expressions. Nature is a testament to music's ability to mirror the natural world, inviting listeners to embrace it's beauty with instinct and abandon.

Valentin Silvestrov was forced to leave his native Ukraine after the Russian invasion of 2022. His music has a prescient quality that unerringly seems to express the fate of his homeland. The intimate Violin Concerto and the heartfelt, single-span Eighth Symphony are notable for their economy of expression and emphasis on beauty, depth and harmony. This is music that hovers on the edge of silence in an uplifting homage to love and humanity, hope and renewal.

This production is dedicated to the works of two American composers, of whom Morten Lauridsen is certainly the better known in Germany. His choral work O magnum mysterium (1994) in particular has become one of the hits of contemporary choral literature in recent years. Lauridsen (born 1943) grew up in Portland, Oregon, the son of Danish immigrants. The songs of Jerome Kern, Cole Porter and Richard Rodgers were very present in his home. He initially studied English and history and worked as a fireman. He then turned his attention entirely to music and moved to the University of Southern California, where, after graduating, he taught music theory and later became a professor of composition. As a creator of primarily vocal music he received many awards, including the National Medal of Arts in 2007. From 1994 to 2001, he was composer in residence with the Los Angeles Master Chorale, one of the leading professional choirs in the USA, which also premiered his Lux aeterna. All five movements of this cycle refer to the "Eternal Light". While Lauridsen was setting the underlying liturgical texts to music, his mother was dying - but the words about light as a universal symbol of all-encompassing enlightenment gave him consolation. Jake Runestad is one of the latest additions to the list of great American composers and is in the process of securing his place in US music history. Born in 1986 in Rockford, Illinois, he grew up in a family that sang a lot. There was also a piano, and during his primary school years he began to play little melodies on it - also teaching himself Scott Joplin's The Entertainer. From 2009 to 2011, he studied at the Peabody Conservatory of Johns Hopkins University, after which he quickly gained recognition, especially in the field of choral music. However, his catalogue of works also includes operas, orchestral pieces and chamber music. He has received commissions from the Washington National Opera, the vocal ensemble VOCES8 and the Swedish Radio Symphony Orchestra, among others. His first album, The Hope of Loving, was immediately nominated for a Grammy Award. A keen mountaineer and camper, Runestad finds nature a great source of inspiration. In his Earth Symphony, Mother Earth herself is given a voice; the five interrelated sections deal with her destruction, her sorrow, her healing, and also her hope for humanity.

Organist and pianist James McVinnie makes his PENTATONE debut with Dreamcatcher, an intimate sequence of contemporary classical music centred around the act of imagining. The recording features the organ of St Albans Cathedral—an epoch-making instrument closely associated with legendary organists Peter Hurford and Ralph Downes. The piano segments of the album were recorded on a Steinway D of exceptional beauty at Studio Richter Mahr, co-founded by composer Max Richter and visual artist Yulia Mahr. A mesmerising sonic trip, Dreamcatcher reflects the unique artistic persona of McVinnie, whose mastery of core organ repertoire extends to an extensive body of work written for him by leading contemporary classical composers, as well as collaborations in the world of electronic and experimental music. The album features works by Nico Muhly, Meredith Monk, Laurie Spiegel, John Adams, inti figgis-vizeuta, Gabriella Smith, Giles Swayne, Bryce Dessner & Marcos Balter. The album's title is taken from Marcos Balter’s work of the same name, written in response to the child separation crisis at the US-Mexico border in 2018—“dreamers” being the name given to children separated from their families by the Trump administration’s immigration policy. This record also presents the first ever recording of Giles Swayne's Riff-raff made on the St Albans organ for which the work was written in 1983—McVinnie’s rendition embodying a perfect synergy between the piece’s minimalist roots and the modernist tonal philosophy of this instrument. Through his boundless approach to music making, innovative programming and captivating musicianship, James McVinnie has carved out a unique career as an organist and keyboard player. “McVinnie's Dreamcatcher is a smartly curated album, where a thoughtful artist challenges us — with extraordinary results — to think of the pipe organ as an instrument of our time.” – Tom Huizenga, NPR All Things Considered

"The violinist’s playing is extraordinary — as fresh and improvisatory as though he were composing each sonata on the spot, but also infused with an infectious emotional ardor." -- Cleveland Classical

The Mystery Sonatas by Austrian composer Heinrich Ignaz Franz von Biber, believed to have been penned in the 1670s, remain unsurpassed for their virtuosity and extended use of scordatura, a unique tuning system that underscores different aural colours and timbres of the violin, thereby illuminating the pictorial themes of the Rosary – the processions devoted to major moments in the lives of Christ and the Virgin Mary – which Biber’s work depicts.

Singaporean violinist Alan Choo, the vibrant leader of acclaimed baroque ensemble Apollo’s Fire, headlines a dynamic and descriptive recording of the Mystery Sonatas, enhancing the scordatura with six different violins that require 15 individual tunings. He explains, “The use of a unique scordatura tuning for each sonata means that a violinist needs to use multiple violins if performing several of the pieces in the same week – each violin kept at the tuning of its respective sonata. Otherwise, the constant re-tuning of a violin would destabilize its tuning. I used a total of six violins in this recording. The personality of each instrument shines through.”

Joined by a chamber ensemble of his Apollo’s Fire colleagues, including founding director Jeannette Sorrell on harpsichord, Choo navigates Biber’s extended techniques with aplomb and devotion to the 15 programmatic sonatas which are compiled into three cycles – the Joyful Mysteries (the Angel Gabriel delivers the news to Mary that she will be the mother of the Messiah), Sorrowful Mysteries (Jesus’ agony, knowing he is about to be betrayed) and Glorious Mysteries (the Resurrection of Christ and his ascent to heaven) – and are crowned by the timeless finale, Passacaglia for solo violin.

REVIEWS:

[The Mystery Sonatas'] extraordinary technical challenges include Biber’s requirement that the soloist play violins with strings “mis-tuned” (scordatura) from the normal G-D-A-E pitches for 13 of the 15 sonatas, creating different resonances in the instrument for expressive purposes. For somber subjects like “The Agony in the Garden,” the open strings play A-flat – E-flat – G – D, clashing pitches “evoking a sense of struggle,” as Choo writes. For triumphant subjects like “The Ascension,” the open strings are tuned to create a “glorious” C-Major chord. For the recording, Choo has used a total of six instruments to avoid constant retuning that would be destabilizing.

The violinist’s playing is extraordinary — as fresh and improvisatory as though he were composing each sonata on the spot, but also infused with an infectious emotional ardor.

An important aspect of this recording project is the realization of the basso continuo line, which could — as on other recordings — simply be chorded by organ or harpsichord. Never one to pass up the opportunity to tell a vivid story, Sorrell writes, "as a continuo player myself, I have always felt that the extraordinarily imaginative writing in Biber’s masterpiece calls for an imaginative and colorful approach to the accompaniment."

Thus Choo’s superb supporting cast includes harpsichord (Sorrell), chamber organ (Peter Bennett), cello and viola da gamba (René Schiffer), archlute and Baroque guitar (Brian Kay), theorbo (William Sims), triple harp (Anna O’Connell), and viola da gamba and lirone (Kivie Cahn-Lipman). There’s even a bit of percussion (Brian Kay) to accompany the Aria Tubicinum in “The Ascension.” Used judiciously and only rarely all together, they add texture and depth to the sonatas.

Even if you’re not into Roman Catholic mysticism, this recording should be treasured by fans of early Baroque music.

-- ClevelandClassical

With a keen sense of musical poetry, pianist Jurg Hanselmann explores the early piano works of Josef Gabriel Rheinberger. The twelve character pieces for the 'new' piano (1864) present the young Liechtenstein composer as a true master of musical miniatures: from the light, dance-like Duettino to the mysterious Notturno to the brilliant Etude and moments of heartfelt melancholy. The program is complemented by the rarely performed Four Fugues for Piano (1862), which impressively showcase Rheinberger's masterful contrapuntal artistry. All works are world premiere recordings. With rich color, clarity, and heartfelt expression, Jurg Hanselmann opens the door to Rheinberger's previously little-known piano universe.

With over one billion streams worldwide, Vikingur Olafsson is one of the most listened-to classical artists of our time. Following the global success of his Grammy-winning recording of the Goldberg Variations, the Icelandic pianist now presents his latest album: Opus 109. At it's heart is Beethoven's Piano Sonata No. 30 in E major, Op. 109, a masterpiece of the composer's late period, which Vikingur Olafsson places in an illuminating and musically thrilling temporal dialogue, tracing the lineages that converge on this beloved beacon of the piano literature. CD Mintpack.

(5-CD set) The Emerald Duets is a crowning achievement among Wadada Leo Smith's many recorded duo collaborations with drummers/percussionists that have previously featured such creative giants as Ed Blackwell, Jack DeJohnette, Milford Graves (TUM BOX 003), Louis Moholo-Moholo (TUM CD 029) and G�nter Sommer, among others. The Emerald Duets features four master drummers who have each, in their own unique fashion, contributed to the way modern drumming has developed in the past six decades and how it is now perceived. Pheeroan akLaff, Andrew Cyrille and Han Bennink are each featured on one disc and Jack DeJohnette on two discs, including Smith's five-part composition "Paradise: The Gardens and Fountains" that fills the fifth disc of this boxed set in it's entirety. The sessions with akLaff, Cyrille and DeJohnette mostly feature compositions by Wadada Leo Smith, including three very different versions of Smith's powerful statement for the protection of freedom and democracy, "The Patriot Act, Unconstitutional and a Force that Destroys Democracy." The session with Bennink includes a combination of Smith's compositions and collectively created tracks.

Vikingur Olafsson / FROM AFAR - From Afar is a new album full of beautiful arrangements recorded on two pianos with the repertoire mirrored on both grand piano & upright piano. Inspired by a meeting with the iconic Hungarian composer Gyorgy Kurt g, this album is a musical response with music from: Kurt g, J. S. Bach, Brahms, W. A. Mozart, AdSs*, Schumann, Birgisson, Kaldal¢ns. With beautifully evocative titles & forgotten melodies, V¡kingur creates a thread of stories within a bigger structure: nature, home, childhood, family.

Angela Hewitt's new album is clearly destined to become a favorite. It features some of the best-known musical declarations of love across the centuries, heard in transcriptions by some of the great pianists (including Angela herself).

For nearly a decade, the endlessly exploring pianist / composer / improviser Denny Zeitlin has focused on an individual composer for his annual solo concert at Oakland's Piedmont Piano Company. Zeitlin brings his full creative force to these efforts to transform these well-known pieces into remarkable musical journeys. In 2018, Zeitlin decided to focus on the great American composer, George Gershwin, for his concert and recorded the proceedings, released now as Crazy Rhythm: Exploring George Gershwin.

SONG IS MY STORY

SENZO

“...the pleasure its players derive is highly infectious. Long may it continue...” (Melody Maker) “...A splendid session....” (Billboard)

If You Could See Me Now

Live Again

Piano Sonata No. 2

What's New In The Tradition

Dark Beauty

"The quartets Nos. 21, 22, and 23 were composed by Mozart with the hope of a dedication to King William of Prussia. The king was a cellist, and Mozart lovingly favors the cello in these quartets of supreme craftsmanship." - Herbert Russcol

[Quartet No. 23 in F Major, K. 590] "...makes an exciting culmination to them all, in Mozart's most mature handling of the style...The composer ends his adventures in the string quartet at the very top of his bent." - John Burk, Mozart and his Music

"Though CBS in its latter days of independence reissued the Juilliard Quartet’s recordings of the last Schubert String Quartets on a mid-price 2-CD set, re-reissued by Sony on SB2K89978, neither they nor their present owners Sony/BMG ever released these Mozart recordings on CD, to the best of my knowledge, perhaps because there is such strong competition in the Mozart, not least from the Quartetto Italiano and Amadeus Quartet in recordings of much the same vintage. With those stylish Italian recordings currently unavailable, however, either as part of their 8-CD collection of all the Mozart Quartets, singly, or on Philips Duo, except as downloads or from ArkivMusic, and the Amadeus as a box set only, it makes excellent sense to reissue the Juilliard recordings...If you are looking for a 2-CD set of the last four quartets, the ArkivMusik reissue of the Juilliards makes an obvious recommendation. There’s a detailed booklet with some useful analyses of the music and the recording has worn well." -- MusicWeb International

Sky Music

TRIPTYKON

After his active performing/recording period in the 80s and 90s Stanley Cowell has devoted his enormous talent in music education at the renowned Rutgers University in New Jersey, USA. Cowell’s previous release SCCD 31704 “Prayer For Peace” in 2010 was his first album in over a decade which evoked Mike Shanley of JazzTimes to comment, “… his phrasing, chordal voicings and use of space are impeccable….a hard-swinging trio never goes out of fashion…” Here on his new album Stanley formed a new trio with his two former students from Rutgers University to reveal that he remains a master of his material and instrument.

“Don Friedman is probably playing better now than at any other period of his splendid career. Maturity has brought a deepening of emotional expression, a refinement of touch and the knowledge of exactly how much he wants to say within a given performance……On this beautifully conceived and executed CD, Don is in the bright company of three musicians who share his aims and ideals, and hold true to the tenets of balancing spontaneity with organisational clarity and discipline…” (Mark Gardner – linernotes)

Since his SteepleChase debut with pianist Hal Galper on an album entitled "Reach Out" (SCCD 31067) in 1976, drummer Billy Hart and label have kept a long, productive relationship. This release marks his 68th recording and his 1st leader album for SteepleChase. Billy Hart has not only been the company's most recorded drummer but also one of the most influential voices in the label’s creative decision making. “… Hart is widely regarded as one of the most capable of modern-jazz drummers…” (The New Grove Dictionary of JAZZ)

Stanley Cowell during the last five decades has not only been active on the jazz scene but also devoted himself in the musical education of younger generation. Now his well-earned retirement from teaching at the Rutgers enables him to spend more time in performing and recording. The latest album, which is his 13th release on this label, Stanley Cowell presents himself as a supreme interpreter of jazz’s standard titles. “…it's a great pleasure to hear Stanley Cowell's It's Time: a finely crafted collection of mostly originals that is at once sophisticated, both aggressive and pensive, and simply fascinating to listen to.” (Greg Simmons – AJJ on “It’s Time” SCCD 31740)

One of the greatest American jazz pianists Stanley Cowell has been more active as a dedicated educator than a recording artist in the last 10 years. Cowell now makes his recording comeback to delight us with his finest works. “ After more than a decade away from the recording studios, that fine and highly-regarded pianist/composer Stanley Cowell returns, and at the same time unveils a shining bright talent in his 20-year-old daughter Sunny, a fresh-sounding vocalist and accomplished viola player ” (Mark Gardner – from the liner notes)

Since his retirement in 2013 from the professorship at the prestigious Rutgers University, where he led its jazz department, pianist/composer/educator Stanley Cowell has been increasingly active on the scene both in concerts and recordings. This new album with a featured program of Christmas melodies (Xmas Suite) will be introduced to the audience at New York’s Smoke Jazz & Supper Club. “…it's a great pleasure to hear Stanley Cowell's It's Time: a finely crafted collection of mostly originals that is at once sophisticated, both aggressive and pensive, and simply fascinating to listen to.” (Greg Simmons – AAJ on “It’s Time” SCCD 31740)

A celebration from The Orlando Consort of the musical and literary worlds of Florence's golden age under the Medici, in a selection of works which includes a number of first recordings.