Shostakovich was known for his fun-loving attitude during his early years as a composer. The colourful incidental music for The Shot - reconstructed by Mark Fitz-Gerald from the original piano scores - vividly evokes the raucous life of experimental youth theatre in Leningrad during the late 1920s. This carefree world had changed dramatically by 1934 when Shostakovich completed his music for The Human Comedy - a work that creates a charming atmosphere of Parisian escapism. Discarded movements from his first opera The Nose form an entire orchestral suite. The programme concludes with Mark Fitz-Gerald's reconstruction of the March of the Anarchists, transcribed by ear from the film The Vyborg Side.

Two CDs. Rollins in Holland: The 1967 Studio & Live Recordings is Resonance Records' first archival release from the Saxophone Colossus, Sonny Rollins. This deluxe set officially sanctioned by Rollins includes three different previously unissued 1967 performances with bassist Ruud Jacobs (bass) and Han Bennink (drums). With extensive booklet of unseen photos and essays by Aidan Levy and Frank Jochemsen, plus interviews with Sonny Rollins and Han Bennink, a remembrance of Ruud Jacobs, and more.

Following their début album, Belle Époque, the Orsino Ensemble turns its attention to music from Bohemia. There is a strong tradition of Czech wind playing, and hence a wealth of great repertoire on which to draw.

Antoine Reicha was a contemporary (and friend) of Beethoven. His E flat Quintet, published in 1817, demonstrates his harmonic ingenuity and talent for idiomatic instrumental writing. Mládí, described by Janácek as ‘…a sort of memoir of youth’, was composed in 1924 in celebration of the composer’s own seventieth birthday, and the mood of the piece is optimistic throughout.

Born in Brno, Pavel Haas studied at the city’s conservatory, under Janácek – indeed Haas is widely considered to be Janácek’s greatest pupil. Composed in 1929, the Wind Quintet typifies his quirky musical imagination and affinity for instrumental timbre.

Bohuslav Martinu came from the small town of Policka, on the Czech-Moravian border, but received his early musical education in Prague, where he also played second violin in the Czech Philharmonic. A government scholarship enabled him to move to Paris in the early 1920s to study with Roussel. Martinu immersed himself in Parisian musical life, the works of Stravinsky and the Jazz scene proving two considerable influences on his own compositions. His Sextet for Wind and Piano is considered one of his most successful Jazz-inspired pieces and, although an early work, demonstrates the natural melodic style so typical of his later works.

REVIEW:

Reicha’s Quintet pairs different combinations of instruments together with delightful felicity, and the bubbly horn writing is a constant delight. It’s a well-paced reading, too, coming in at 28 minutes. The Orsino Ensemble’s performance of Janáček’s Mládi is crisp and tight and I especially appreciated Walker’s pipy and lithe piccolo playing.

The church acoustic has been well judged and there’s no sense of billowy or unfocused sound, rather a warm, uncloying well-cushioned directness. There isn’t – or, at least, I’ve not been able to find – an exact competitor to this disc so the excellence of the performances stands in the Chandos team’s favor as does the adventurous repertoire. Carping critics like me may suggest alternatives in individual works but overall this is a highly effective disc.

-- MusicWeb International (Jonathan Woolf)

Rakhi Singh is a violinist, music director, curator and composer based in the UK. In 2016 she co-founded Manchester Collective, a progressive group that the BBC describes as "transforming all our perceptions of what a classical music group can be."

"Sabkha" is the first single from Singh's full-length debut album Purnima (coming October 27) — a stirring stream-of-consciousness foray into signal processing and multi-tracking for violin, with Singh's own wordless vocals adding to the hypnotic mood. Purnima, which translates literally from the Sanskrit as "she who is the full moon,” is not only Singh's middle name — it's also a source of spiritual inspiration that has guided her own musical journey on her chosen instrument. Interpreting works by composers Alex Groves ("Trace I"), Emily Hall ("Outshifts"), Julia Wolfe ("LAD") and Michael Gordon ("Light Is Calling"), and augmenting them with unearthly electronic and electro-acoustic textures, Singh creates a haunting dreamworld of melody and sound that doesn't quite emit a completely "classical" aura — but instead suggests an altogether new one.

This summit meeting of the two giants of post-war American jazz attracted enormous attention and accolade from the world jazz fans when released in 1974. Jackie McLean (1931 - 2006) and Dexter Gordon (1923 - 1990) who were at their pinnacle of creative aptitude joined forces to thrill the packed fans at Copenhagen’s Jazzhus Montmartre in the summer of 1973. After 49 years this 180g audiophile version may bring back the heat wave of jazz in Europe of the 70s. “…McLean and Dexter are naturals to play together and on this album they are both at their best.” (B. McRae – Jazz Journal) “This LP is a live recording of the best jazz performance from European live scene of 1973. I firmly believe that this document will carry its immortal value for the years to come…” (Teruo Isono – Swing Journal) 180g Audiophile Vinyl

Grammy Award-winning Chicago-based percussion quartet Third Coast Percussion (Sean Connors, Robert Dillon, Peter Martin, David Skidmore) presents Between Breaths, an album of world premieres of works by four contemporary composers, plus a work by the quartet itself.

Known for their captivating performances and innovative approach to modern classical music, TCP has been praised for “commandingly elegant” (New York Times) performances and the “rare power” (Washington Post) of their recordings. Between Breaths, a follow up to TCP’s widely praised album, Perspectives, “continues to push percussion in new directions, blurring musical boundaries and beguiling new listeners” (NPR).

The works on Between Breaths explore aspects of meditation in sound, incorporate unconventional timbres and tones, and invite listeners to lose themselves within a captivating sonic landscape. Missy Mazzoli’s five-movement Millennium Canticles transports listeners into a vivid realm where a group of people strive to recreate the rituals and stories of human life after an apocalypse. Mazzoli skillfully crafts an evocative soundscape using diverse elements such as wooden planks, resonant metal pipes, tone chimes, drums, discordant metallic tones, a resounding lion's roar, and an array of vocal expressions.

In Practice, a collaborative composition by TCP, began as a sound meditation drawing upon the personal rituals of the quartet’s members, from a warm-up routine to using sounds created with everyday objects. This source material laid the foundation for the work, which developed its own sense of direction and purpose, with an atmosphere of meditation and balance.

Tyondai Braxton's Sunny X juxtaposes otherworldly acoustic and electronic timbres against a steady rhythmic drive. Within this sonic tapestry, resonant wooden planks, metallic pipes and plates, and an array of gongs and woodblocks contribute to a distinctive and immersive experience.

Chicagoan Ayanna Woods’ Triple Point refers to the unique state where a substance simultaneously exists as a gas, liquid, and solid due to temperature and pressure conditions, which results in liquids bubbling into gas, rapidly freezing, exploding, and melting into liquid again. Woods’ composition mirrors this phenomenon, as it encapsulates moments of dynamic energy and musical elements that rise to the surface and dissolve again.

Gemma Peacocke’s Death Wish, composed in tribute to Hinewirangi Kohu-Morgan, a Maori artist, poet, and activist, has become a staple of TCP’s repertoire. Performed by four players on two marimbas, the music creates a powerful landscape of melancholy, personal devastation, and hope.

REVIEW:

Third Coast Percussion’s Between Breaths is another fresh and thought-provoking album in what has been a steady stream of recordings from the Grammy-award winning quartet over the past seven years. Released Sept. 8 on Cedille Records, Between Breaths returns to many themes explored on the ensemble’s debut EP, Ritual Music (2006): relationships between individuals, communities, and ritualistic acts. The highly programmatic and hypnotic new album showcases the quartet’s vision for commissioning works by living composers and features world premiere recordings of works by Missy Mazzoli, Tyondai Braxton, Ayanna Woods, and Gemma Peacocke, and by Third Coast Percussion itself.

-- I Care If You Listen (Forrest Howell)

Heinrich Marschner's role as Germany's leading Romantic operatic composer in the generation between Weber and Wagner has tended to draw attention away from his accomplished chamber compositions. Marschner had a high regard for the piano trio genre, composing seven throughout his career, which won the admiration of his friends Robert and Clara Schumann. The Trio No. 1 in A minor is profusely lyrical and not without surprises and contrasts. Written three decades later, the Trio No. 7 in F major is a work of his maturity - assured, dramatic and energetic.

German composer Hans Werner Henze’s (1926–2012) admiration for the great masters of the Baroque and musical Classicism manifested in compositions born from a desire to transcribe, rework and transform 17th- and 18th-century masterpieces into new orchestral textures. The project Travestimenti (Disguises), managed by conductor Marco Angius and the Orchestra di Padova e del Veneto, from which this CD was created, makes reference to Henze’s ‘reinventions’ of masterpieces by Mozart, C.P.E. Bach and Vitali, clothed in new, modern fashion.

For the Drei Mozart’sche Orgelsonaten, Henze takes up three of Mozart’s one-movement Kirchensonaten (church sonatas or trio sonatas). Sonatas 17 and 15 are in an Allegro tempo, whereas the Sonata K.67 is marked Andantino, so Henze, in his transcription, places the latter between the two livelier tempos, thus reconstructing the tripartite structure of a classical three-movement sonata. Scored for an ensemble of 14 players that includes the less common, softer variants oboe d’amore and viola d’amore, it aims to underline the darker instrumental timbres, favouring the sombre sonorities of the alto flute in G, the bass flute in C, the bass clarinet and the bassoon. During the last year of his life, in 1787, Carl Philipp Emanuel Bach composed a Fantasia libera per tastiera sola (Free Fantasia for keyboard alone) which he expanded into the Clavier-Fantasie mit Begleitung einer Violine (Fantasy for harpsichord with violin accompaniment), one of his most personal and expressive works.

Henze transcribed it for solo flute, harp and strings, aiming to project the extremely interesting and expressive harmonic material of the composition into a larger instrumental apparatus, thus making its future-oriented harmonic structures more manifest and moulded. He proposed two options for division of the: string quartet + string quintet or string quartet + tutti (the latter version is recorded here).

Although it was probably composed in the early 18th century, Vitali’s Ciaccona ‘Il Vitalino’ – whose musical form is inspired by dance and consists of variations on a ground bass – was only rediscovered in 1867, published by the German virtuoso violinist Ferdinand David. Henze’s Il Vitalino raddoppiato – called “raddoppiato” (“doubled”) because of his extension of the composition by means of interpolated variations of each original section in the style of 18th-century doubles – retains Vitali’s bass almost throughout the entire composition. It alternates Vitali’s variations on his chaconne theme with Henze’s variations of Vitali’s variations, in an ever-changing dialogue between the 18th-century past and Henze’s present.

Trumpeter Jeremy Pelt's latest project, Woven, is a fascinating album that fuses more traditional aspects of 21st-century jazz with the myriad possibilities of electronic synthesized sound. This collection of mostly original compositions showcases Pelt's instrumental artistry together with his commitment to composing works that explore new dimensions in jazz. Each track on Woven is meticulously crafted, perfectly balancing innovation with communicative emotional depth. The full range of contemporary jazz can be found here, from neo-bop, hard-driving rhythms to touchingly intimate balladic utterances. But Pelt's trumpet can also weave through electronic textures, creating a sonic landscape where the group's kaleidoscopic tone colors become a fundamental part of the melodic content. Joined by an impressive ensemble of musicians, Pelt and his collaborators create a fluid interplay of acoustic and electronic sounds, displaying their skill in integrating bold, contemporary elements while simultaneously underlining the very essence of jazz.

Stable Mable

Speechless

Live On Tour In The Far East, Vol. 1

Song For Biko

Brooklyn based SydeBoob Duo is dedicated to pushing the boundaries of contemporary performance in repertoire for soprano and flute, bringing their virtuosity to ambitious works that highlight their committment to broad representation alongside the highest aesthetic standards. On this debut full length release, they perform works by Rebecca Saunders, Eric Moe, Anthony Braxton,�Ramin Akhavijou,�Max Johnson, and�Beat Furrer that are both landmark works for the instrumentation and core works that have shaped Sydeboob as an ensemble.

One of Saxony-Anhalt's oldest and most tradition-rich orchestras presents a compelling combination of two major orchestral works on GENUIN, marking the 100th anniversary of the Bauhaus's relocation from Weimar to Dessau: the Anhaltische Philharmonie of the Bauhaus city Dessau, under it's general music director Markus L. Frank, pairs Mussorgsky's Pictures at an Exhibition (in Ravel's orchestration) with Feininger Fractals by Eisenach-born composer Thomas Buchholz (b. 1961) - two orchestral works closely connected to visual art. The finely spun textures of Buchholz, who in this work engages with Bauhaus master Lyonel Feininger, and the endless colors of Mussorgsky/Ravel are in the best hands with this Dessau ensemble. Magnificent but not pompous, virtuosic yet full of meaning, the orchestra plays with intelligence and nuance under it's chief conductor.

Krasa Quartet, a young ensemble specializing in music by Jewish authors from the Terezin Ghetto, are releasing their debut album, with compositions by Hans Krasa, Erwin Schulhoff and Karel Ancerl. Krasa's Theme with Variations and his String Quartet, Schulhoff's Divertimento for String Quartet and Ancerl's Two Student Fugues all come from early stages of these composers' careers, before the political events in the aftermath of the First World War drastically affected their lives. In 2012, four young musicians who met during their studies at the Prague Conservatory decided to found their own ensemble. The members of Krasa Quartet - Marie Forestova, sarka Petrikova (first violin), Jan Paloucek (second violin) and Daniel Menhart - were then of similar age as these authors would have been while working on their early compositions. Now, having gained experience performing at festivals in Czechia and abroad and participating in master classes (Pavel Haas Quartet, Hagen Quartet), the quartet are relaesing their debut album. Besides quartet classics, such as, for example, works by Ludwig van Beethoven, the ensemble's repertoire encompasses 20th-century music, with special emphasis on works of Hans Krasa and other Terezin authors. Krasa Quartet regularly collaborate with foremost instrumentalists, including pianists Jan Bartos and Marek Kozak, as well as with choirs and dance ensembles. For several years, the ensemble performed as part of the ballet production Vertigo at the National Theatre in Prague.

UBIQUE lives on the border between enigmatic lyricism and atmospheric distortion. Through a combination of sounds, pitches, and textural nuances, low deep drones envelop lyrical materials and harmonies that breathe in and out of focus throughout the progress of the piece. The flow of the music is primarily guided by continuous expansion and contraction - of various kinds and durations - as it streams with subtle interruptions and frictions but ever moving forward in the overall structure. The work is inspired by the notion of being everywhere at the same time, an enveloping omnipresence, while simultaneously focusing on details within the density of each particle, echoed in various forms of fragmentation and interruption and in the sustain of certain elements of a sound beyond their natural resonance - throughout the piece, sounds are both reduced to their smallest particles and their atmospheric presence expanded towards the infinite. As with my music generally, the inspiration is not something I am trying to describe through the music as such - it is a way to intuitively approach and work with the core energy, structure, atmosphere and material of the piece. UBIQUE is 45 minutes in duration and is written in 11 parts, for flutes, grand piano, 2 cellos and pre-constructed electronics. - Anna Thorvaldsdottir

In 2025, PMP is proud to release Trillium X, a sixth opera by Anthony Braxton, on the occasion of his 80th Birthday. A limited deluxe 8-CD box set including both, a live recording of the world premiere in Prague, a studio recording realized at the famous Darmstadt Summer Course, a 6-hour of exclusive audio-visual materials documented a complete world premiere, documentary film In the Garden of Trillium X, and in-depth conversation between Anthony Braxton, Swiss conductor Roland Dahinden and German writer and Braxton's scholar Timo Hoyer. Braxton spent five years working on his opus magnum. He has been significantly involved in all Trillium performances, including this one. He has accompanied the rehearsals from the very beginning. However, the leading man in charge was Roland Dahinden, his long-time fellow from Wesleyan University. Dahinden and incredible PMP Orchestra represent the ongoing generational change in creative music. "X is a dream-logical world unto itself, a place to get lost in for a handful of hours, like Wagner, but strictly according to Braxton-ian rules of order and exploration." - Josef Woodard, DownBeat, 5-stars

The Helsinki Philharmonic Orchestra can with justification be regarded as ‘Sibelius’s own orchestra’, as it was this orchestra, usually conducted by the composer, that premièred most of his major works. On this disc of three such pieces, the orchestra is conducted by Susanna Malkki; the recording follows on from their three acclaimed albums devoted to the music of Bartók.

Although they were all later revised, the three works on this recording all originated within a very short period in Sibelius’s career: the years 1893–96, a time when he was beginning to establish himself as a composer and a time of national awakening.

One of his most popular works, the Karelia Suite is drawn from a series of tableaux that evoked events in the history of Karelia, the region where Finland and Russia meet. In late 19th-century Finland, the promotion of Karelian folk culture was both fashionable and politically relevant. The short suite Rakastava [The Lover] is a subtle reworking of a work for male voices based on lyrical poems from the collection Kanteletar; Sibelius often conducted it in concert. Sibelius often drew inspiration from the Finnish national epic Kalevala, and episodes from this poem provide the subject matter of Lemminkainen, a substantial four-movement suite (including the captivating Swan of Tuonela) that recounts the adventures of a daredevil hero, a sort of Nordic Don Juan.

REVIEWS:

Mälkki and the orchestra remarkably conjure the dark, swirling soundworld of ‘Lemminkäinen in Tuonela’ (the Hades of Finnish legend). And the concluding ‘Lemminkäinen’s Return’ canters along in roistering style.

-- BBC Music Magazine

Susanna Mälkki and the Helsinki Philharmonic Orchestra produce wellcrafted, beautifully detailed accounts on a par with rival versions – including the Helsinki orchestra’s own with Segerstam (with warm Ondine sound) from the mid-1990s.

-- Gramophone

This is re-issue of the previous bestseller C756081 (4011790756127). Jean-Pierre Ponnelle's 1985 production of "Pagliacci" (and "Cavalleria rusticana") was one of the French director's last assignments at the Vienna State Opera before his untimely death 1988. The sensation of that June evening in 1985 was, however, Placido Domingo's consummate performance in Leoncavallos Pagliacci. He was more than an expressive singer with an incomparable tenor voice, he was also a truly great actor able to convey the whole world of his emotions to every member of the audience. Domingo's ability to bring out utter hopelessness transformed Leoncavallo's hackneyed opera into a highly individual tragedy from whose sway no one could escape. The dramatic intensity of his performance fired the other singers, too: thanks not least to her extraordinary vocal skills, Ileana Cotrubas was able to make Nedda's easygoing attitude as credible as her genuine feeling for Silvio and her struggle to safeguard the new love that had entered into her life; Wolfgang Schone gave Silvio an unusually clear-cut character and Heinz Zednik's presence in the cast likewise gave Peppe a whole new dimension. Finally, the French baritone Matteo Manuguerra was able to display thanks to his great and powerful voice a "terrifyingly evil" Tonio. By the end of the evening the public and the critics "were genuinely gripped"

Johnny “Little Giant” Griffin moved to France in 1963 leaving USA where the straight-ahead jazz’s heyday was fast waning. Together with other expatriates such as Dexter Gordon, Bud Powell, Kenny Clarke Griffin had highly productive career in Europe. The original version of this 180G LP was recorded live over two nights in 1973 at Copenhagen’s jazzhus Montmartre. “...this is a superb Griffin recording in a long time...” (Swing Journal) “Johnny Griffin in the 1970s remains The Little Giant - a joy to hear and this must be his most representative album in ages...” (Coda) 180g Audiophile Vinyl

The violin, a bowed instrument with four strings, of such perfection that it has focussed the attention of composers from the Baroque to the present day. Apart from the piano, no other instrument has had so many important concertos written for it, from Locatelli and Vivaldi, to Bach, Mozart, Beethoven and Brahms, among many others. It might seem unimaginable that this instrument with it's one bow on four strings be able to perform polyphonic works from the piano, Lied and orchestral repertoire unaccompanied, but that is precisely what the great virtuosos of the early Romantic period right up to the modern era repeatedly saw as a challenge in their compositions. Paganini, Ernst and their successors pushed the technical possibilities of the violin to the limit. With this CD we present the most important of these works, which are otherwise pigeonholed as salon or encore pieces. The result is musical gems ranging from practically complete Lieder such as the Erlkonig, to Isang Yun's masterful arrangement of The Musical Offering by Bach. Her debut CD "1939" on Solo Musica with the Munich Symphony Orchestra conducted by Kevin John Edusei received worldwide acclaim, including reviews in BBC magazine, The Strad Magazine, Gramophone and the American Record Guide. This new release is the first solo album by violinist Fabiola Kim, hailed by the New York Times as "a brilliant soloist" who plays "with extraordinary precision and intensity". She is an energetic performer and enjoys a wide-ranging career as a soloist, chamber musician and teacher.

Claudio Santoro's late works are marked by great concision and considerable emotional density. The music on this album was written in the last months of his life. The Viola Concerto and the Concerto for Chamber Orchestra juxtapose restless energy and expansive - if at times desolate - lyricism. The powerful Symphony No. 13 shows Santoro's mastery of orchestration and form at it's peak, and the compact Symphony No. 14 was to be the last in a cycle widely acclaimed as the most significant of it's kind ever composed in Brazil.

The fourth volume in this series explores a pivotal decade in Claudio Santoro's compositions, traversing his move from serialism towards nationalism. The release starts with the transitional, reflective Canto de Amor e Paz and continues with Symphony No. 4, one of his most accessible and influential works, and his brief Symphony No. 6 of 1958. The concertante works for saxophone and violin show his command of dance rhythms, colourful lyricism and virtuosity.

The Ensemble InterContemporain and it's musical director Pierre Bleuse continue their monographs on the great figures of contemporary musical composition. After the multi-award-winning Ligeti, it is the composer Unsuk Chin who is celebrated here. Of Korean origin, she moved to Germany in the 1980s. Her music shines with an immediate sensuality, and the inexhaustible transformations of her instrumental polyphony produce unprecedented sound constellations. This programme presents her piece Gougalon (2009/12), which evokes the memory of the travelling amateur theatres of her native country, with deliberately offbeat instrumentation in six episodes. She presents it as 'imaginary folk music that is stylised, fractured and only appears to be primitive.' Chin titled her 2013 piece for large ensemble Graffiti. All sound registers are exploited in a colourful, lively, and varied manner. 'The musical language of Graffiti oscillates between roughness and refinement, complexity and transparency,' says the composer. Her double concerto for piano and percussion completes this programme.

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).

The music of the composer, educator and musicologist Liza Lim, who was born in Perth, Australia in 1966, has a collaborative and transcultural focus. Her recent works have explored beauty, anger and noise, ecological issues, and women's spiritual traditions. Liza Lim has received commissions from leading orchestras and institutions worldwide, and her works continue to be performed at prestigious festivals. In 2024, she was named "Composer of the Year" by OPUS KLASSIK. Liza Lim is Professor of Composition and Australian Music at the Sydney Conservatorium of Music. As part of a Laureate Fellowship from the Australian Research Council, she will lead a five-year program starting in 2025 to promote the exploration of pressing climate and social issues through music. Her gender equity initiatives through Sydney Con's Composing Women have had a significant impact on commissioning, performance and next-generation leadership in Australian music. A Sutured World for cello and orchestra was commissioned in 2024 by musica viva of the Bayerischer Rundfunk, the Royal Concertgebouw Orchestra, the Cello Biennale Amsterdam, the Melbourne Symphony Orchestra and the Casa da Musica Porto. The world premiere recorded on this CD took place in the Herkulessaal of the Munich Residenz on October 25, 2024, with Nicolas Altstaedt (cello) and the Bavarian Radio Symphony Orchestra conducted by Edward Gardner. The orchestral work Mary - Transcendence after Trauma was commissioned by musica viva of the Bayerischer Rundfunk in 2020/21. The world premiere of the work at musica viva, originally scheduled for January 28, 2022, had to be cancelled due to the Covid pandemic. In the meantime, the triptych was premiered at the Cologne Philharmonie on April 29, 2022 as part of "Musik der Zeit" with the WDR Symphony Orchestra conducted by Cristian Macelaru. This CD features the musica viva recording of May 12, 2023 in Munich's Herkulessaal by the Bavarian Radio Symphony Orchestra under Franck Ollu. The Compass for flute, didgeridoo and large orchestra was commissioned by musica viva of the Bayerischer Rundfunk and the Sydney Symphony Orchestra in 2005/06. The premiere took place at the Sydney Opera House on August 23, 2006 with Rosamund Plummer (flute), William Barton (didgeridoo) and the Sydney Symphony Orchestra conducted by Alexander Briger. This CD features the musica viva recording of the European premiere of the work on January 12, 2007 in Munich's Herkulessaal, with Carin Levine (flute), William Barton (didgeridoo) and the Bavarian Radio Symphony Orchestra conducted by Christoph Poppen. ? The main work on the CD is Liza Lim's latest composition: a live recording of the world premiere of the cello concerto "A Sutured World" (2024) as part of the musica viva concert series by the Bayerischer Rundfunk from the Herkulessaal of the Munich Residenz - with the famous cellist Nicolas Altstaedt ? The CD also features Liza Lim's compositions "Mary - Transcendence after Trauma" (2020/21) and "The Compass" (2005/06) as live recordings from the musica viva concert series ? Performed and conducted by renowned musicians, all of them experts in contemporary music

October 29, 1923 was a date steeped in history. In the middle of a year of political and economic crises, the age of public radio in Germany was ushered in with the first broadcast of the "Berliner Funkstunde" (Berlin Radio Hour) from the attic of an office building on Potsdamer Platz. Radio offered entirely new possibilities for the production and reception of music. The two compositions on this CD not only benefited from these developments but also played an active role in shaping them.

Eduard Künneke's five-movement Concerto grosso "Tänzerische Suite" op. 26 for jazz band and large orchestra corresponded to modern dances: the Overture is a Foxtrot, the Andante a Blues, the Intermezzo a Tango, the valse mélancolique a Boston Waltz, and the Finale a Foxtrot again. The suite was celebrated as a milestone in contemporary radio music and soon became part of the regular concert program.

Hanns Eisler's cantata "Tempo der Zeit" (Tempo of the Times) op. 16 for soloists, narrator, choir, winds, and percussion was written in 1929. The libretto was written by the popular lyricist Robert Gilbert, under the pseudonym of David Weber. With its pure wind ensemble and percussion, "Tempo der Zeit" captures the typical Songspiel sound of the time. The fact that Eisler used the "modern" medium of radio, of all things, to get his fundamental criticism of blind enthusiasm for technology across to the people is an ironical aspect of the work’s composition and reception history. This CD is part of the special programme focus on the topic "The Wild Sound of the Twenties".

Trinity Represents The Second Installation In The Unheard Music Series Efforts To Resurrect Joe Mcphee's Early '70's Work On The Cjr Label, Soon To Be Completed With Underground Railroad And Pieces Of Light. This Brilliant Trio Recording Of Blues Inflected Out-Soul From '73 Follows Up On Hugely Successful Nation Time, Recorded A Year Later.

2-CD Set Limited Edition - Includes 16-page booklet. This release contains Jimmy Smith's complete classic Sermon sessions for the first time ever on a single set. These are his only preserved collaborations with Lee Morgan, the formidable trumpet player whose life came to a tragic end after being shot by his girlfriend at the tender age of 33. Tenor saxophonist Tina Brooks is also well featured here. The outstanding reedman would pass away at the age of 42 after a life of drug addiction and self abuse. 2 COMPLETE ALBUMS & MORE - 2-CD SET - CD1/TT: 73:17 CD2/TT: 72:14 - LIMITED EDITION - INCLUDES 16-PAGE BOOKLET