Following on the success of her acclaimed release, Donna Voce, award winning pianist Anna Shelest continues her exploration of works by women composer in Donna Voce Volume 2 - Women of Legend. Featured are Fanny Mendelssohn's monumental feat of imagination and virtuosity Das Jahr (The Year), Melanie "Mel" Bonis' suite of musical portraits Femmes de Legende (Women of Legend), and contemporary Ukrainian composer Olena Ilnytska's evocative Nocturne 1. Hailed by The New York Times as a pianist of a fiery sensibility and warm touch, Anna Shelest is an international award-winning pianist who has thrilled audiences throughout the world.

In this volume we discover how composers in England, Scotland, the Netherlands and the Nordic countries responded to the waves of jazz and syncopated dance music that had crossed the Atlantic and captivated European audiences. The album features a wide selection of famous and less well-known composers who each succeed in combining the authentic energising rhythms of foxtrots, tangos and shimmies with their own unique styles. Gottlieb Wallisch's seventh and final volume in this acclaimed series features many unknown gems and world premiere recordings. A digital EP of bonus tracks by Bliss, Schnitzler and Hijman (GP962DR) is also available for download and streaming.

With this album, Trio Fibonacci takes us on a journey through the meditative and deeply human universe of Ludovico Einaudi, a master of contemporary minimalism. His works, built around repetitive motifs and subtle harmonic variations, open up a space for contemplation and pure emotion. Many of the pieces presented here have been specially adapted by Trio Fibonacci for duo or trio, bringing new vibrancy and emotional depth to the music while remaining true to the spirit of the composer. With a total runtime of 71 minutes, Timeless Horizons guides listeners through Einaudi's most iconic pieces, including: "I Giorni" - a poignant elegy inspired by Malian folklore "Experience" - a powerful meditation on time and memory "Nuvole Bianche" - a serene and soothing classic "Una Mattina" - made famous by The Intouchables "Petricor" - evoking the scent of the earth after rain But there is much more: 13 pieces in total. The album blends Einaudi's signature repetitive motifs and subtle harmonic shifts with the Trio's expressive and fluid playing style. These arrangements offer a rare intimacy, drawing the listener into a world of silence, longing, and awakening. Trio Fibonacci made it's debut in 1998, with the press reporting that "to hear them is to enter into the world of miracles" (Le Devoir, Montreal).

Winner of the 14th Banff International String Quartet Competition in 2022 and an Avery Fisher Career Grant in 2023, the Isidore String Quartet makes it's recording debut on Delos. Formed at The Juilliard School and coached with members of the Juilliard String Quartet past and present-the name Isidore comes from the legendary violinist Isidore Cohen, one of the Juilliard Quartet's early members-the quartet is rapidly making a name for itself on the international concert scene. The album Adorations is a celebration of chamber music at it's essence: a tapestry of joy, human connection, and the enduring resonance of lives intertwined. Each work on the album reflects a unique form of adoration, offering it's own expression of wonder, reverence, and the profound beauty of shared musical experience. Comprising Joseph Haydn's String Quartet in C major, Op. 20, and Felix Mendelssohn's String Quartet in E-flat major, Op. 44, the recital also features Samuel Barber's celebrated Molto adagio and Florence Price's Adoration.

Andrew Lloyd Webber is world-famous as the composer of the musicals Cats and The Phantom of the Opera, but his Requiem has also achieved international acclaim. Winner of a Grammy Award, this grand-sounding masterpiece of contemporary classical music, written in 1985, is dedicated to the memory of Webber's late father. The recording of a concert by the Munchner Rundfunkorchester on June 15, 2023, a tribute to the British composer who celebrated his 75th birthday in March 2023, is now presented on CD by BR-KLASSIK. This live recording from the Herz-Jesu Church in Munich features the Bavarian Radio Chorus accompanied by a select ensemble of soloists, under the baton of principal guest conductor Patrick Hahn. There was much surprise when Andrew Lloyd Webber presented his Requiem to the public in 1985. Although classical composers had repeatedly ventured into the spheres of the so-called "light muse", hardly any path led in the other direction - from musicals or operettas to the sublime heights of sacred music. The fact that a composer like Franz von Suppe also wrote a requiem as well as operettas is a rarity. Lloyd Webber's career in the "serious" genre, however, was laid in his cradle: his father, William Lloyd Webber (1914-1982), had worked his way up from humble beginnings to become one of the leading church musicians of his day. He encouraged the classical training of his sons Andrew (b. 1948) and Julian (b. 1951), an excellent cellist. Andrew found his niche in the entertainment industry. His song "Try it and see", written for the 1969 Eurovision Song Contest, was not yet a hit, but from a pop cantata he developed his first successful piece Joseph and the Amazing Technicolor Dreamcoat (1968), and from the concept album Jesus Christ Superstar, in which "Try it and see" also found a new home, he created the rock musical of the same name (1971). With Evita (1976), Cats (1981), Starlight Express (1984) and The Phantom of the Opera (1986), Lloyd Webber repeatedly demonstrated his flair for contemporary material that lent itself to a new kind of treatment and appealed to a wide audience. By the mid-1980s, he was the most commercially successful composer of musicals. As Requiem Masses had been abolished in Anglican England since the Reformation, the composer did not have to consider liturgical functionality or ecclesiastical suitability. Verdi had demonstrated that the texts of the Latin Requiem Mass provided an excellent model for grand opera. And Lloyd Webber found inspiration for the lyrical dimension with hit potential in composers such as Gabriel Faure. The texts of the Requiem were rearranged with a sense of dramaturgy. The repeated insertion of the pithy lines "Requiem aeternam" and "Dies irae" gave them a fundamental, leitmotif-like character. The theatrical potential of the sequence ("Dies irae") was expanded, as it had been with Verdi, into a kaleidoscope of human emotions in the face of death and the Last Judgement. In a poll conducted by BBC Radio 4 a few years ago, listeners voted Barber's Adagio for Strings the "saddest piece in the world". There is no doubt that it's broad musical lines have an elegiac, almost religious tone - something the composer himself emphasised in the choral version, written as an Agnus Dei. However, the Adagio's association with farewell and mourning was not intended by Barber, who conceived of his work as purely instrumental. It has however been used on repeated occasions to mark the deaths of prominent Americans, including Alfred Einstein, Franklin D. Roosevelt, and John F. Kennedy. As funeral music, the Adagio has also been a feature of several films since the 1980s, and two lines of tradition have emerged. On the one hand, the Adagio is often associated with the death of a main character, as in the final transfiguration of the Elephant Man in David Lynch's film of the same name (1980) or, in a light-hearted alienation of the theme, in The Fabulous World of Amelie (2001), where the heroine imagines her own death being televised. On the other hand, the austere serenity of the Adagio is contrasted with images of violence and suffering, most emphatically in Oliver Stone's anti-war film Platoon (1986). All these traditions came together in the days after September 11, 2001, when Barber's Adagio was played over and over again by American radio and television stations - both as a tribute to the victims of the attacks and as a musical expression of American patriotism. Particularly memorable was the live performance on September 15, 2001, when the American conductor Leonard Slatkin conducted the BBC Symphony Orchestra at the Last Night of the Proms in London, leaving the hushed audience deeply moved. Thanks to it's melancholic yet comforting sound, the Adagio for Strings was often the piece of choice internationally during the Covid-19 pandemic to commemorate the many victims - online or "open air", on radio and television, and at concerts and other events.

According to The Telegraph 'Ingrid Fliter was born to play Chopin', such is her profound musicianship and affinity with the Polish composer. Here, the Gilmore Artist Award winner continues her highly acclaimed Chopin odyssey, which began over a decade ago, with the complete mazurkas. This, the first of two volumes to be released on Linn, includes the early Opp. 6 and 7, the Op. 24 as well as the later sets, Opp. 50, 59 and 63. The programme reflects on the composer's evolving style, from simple folk-inspired dances to brilliantly sophisticated, intimate works whose intricate counterpoint and harmonies often push the boundaries of the form and serve as a benchmark for the genre. Also included are some posthumous mazurkas which transverse Chopin's entire compositional career.

Guido Bardi, the son of the Duke of Florence, kneels before Bianca, the wife of the rich merchant Simone, and holds her hands. Simone, who has returned early from a business trip, then enters the room. The very beginning of Alexander Zemlinsky's one-act opera "A Florentine Tragedy", based on Oscar Wilde's play of the same name in the German translation by Max Meyerfeld, presents the conflict from which the tragedy arises. This stage work by the Austrian composer, who was forgotten for many decades, had its world premiere on January 30, 1917, in Stuttgart and was not performed again until 1977. This CD from BR-KLASSIK documents the Munich premiere on November 27, 2022, with the Münchner Rundfunkorchester conducted by Patrick Hahn, recorded live at the city’s Prinzregententheater.

With the "Florentine Tragedy", albeit rather belatedly, Zemlinsky followed the fashion for Renaissance and one-act works at the turn of the century. Richard Strauss had made his mark in that genre with "Salome" and "Elektra" – and the literary basis for the former had also been provided by Oscar Wilde. In the very first notes, seemingly aware of this similarity with Strauss’s work, Zemlinsky goes on the offensive with an "upbeat fanfare" – as the prelude to an orchestral introduction that can easily be interpreted as a musical representation of the main romantic relationship. At the transition to the actual stage action, however, Zemlinsky switches to a somber minor-key atmosphere. When Simone appears, the music already makes it clear that the plot cannot end otherwise than tragically. For whom, we do not yet know…

In the Munich premiere of Zemlinsky's "A Florentine Tragedy", Rachael Wilson (mezzo-soprano) sang the part of Bianca, Benjamin Bruns (tenor) was Prince Guido Bardi, and Christopher Maltman (baritone) portrayed the merchant Simone. The Münchner Rundfunkorchester performed under the young conductor Patrick Hahn. Last year, the 27-year-old Austrian – who since 2021 in Wuppertal has been the youngest Generalmusikdirektor in the German-speaking world – was engaged as the Münchner Rundfunkorchester’s Principal Guest Conductor.

The Netherlands Radio Choir and Benjamin Goodson present The Voice of the Beloved, a powerful collection of 20th-century sacred choral works by Frank Martin, Jean-Yves Daniel-Lesur, and Olivier Messiaen. At it's heart is Martin's Mass for Double Choir, a deeply personal expression of faith composed in 1922 and kept private for decades. It's austere beauty and luminous harmonies make it one of the most moving sacred works of the last century. Daniel-Lesur's Le Cantique des cantiques transforms the Song of Songs into a sensual and spiritual choral tapestry, weaving up to twelve voices into a radiant soundscape. Messiaen's O sacrum convivium, a brief but transcendent motet, completes the program with shimmering reverence. Following their acclaimed 2023 release Rheinberger & Mendelssohn: Choral Works, the choir returns with a recording that reveals the sacred not only in worship, but in the raw, expressive power of the human voice.

Marcy Rosen and Diane Walsh present fresh readings of three masterpieces from the cello repertoire. Ms. Rosen studied Barber's cello sonata with Orlando Cole, who worked closely with Barber on the editing of the composition, later premiering the work with Barber at the piano at New York City's Town Hall in 1933.

Le temps des lilas is an ode to Romanticism, a love song and a nostalgic reflection on the bittersweet beauty of lost happiness. Dedicated to the music of Ernest Chausson, this album oscillates between passion and melancholy, wonder and nostalgia. The Concert Op. 21, a masterly work on the borderline between chamber music and orchestra, is carried by Pierre Fouchenneret's magnetic violin and David Violi's colorful piano. I Giardini also deliver a previously unpublished version of Poeme Op. 25, reworked for violin, piano and string quartet. The album closes with Pauline Buet's equally sensitive retelling of Chausson and Barbara's 'Temps des/du lilas', using cello in the former and singing voice in the latter. Barbara's song and Chausson's melody stand as a simple, timeless tribute to the magic of past moments and the fragility of human existence. Le temps des lilas is I Giardini's first full-length album for PENTATONE, following an already rich discography: Nuits (which has been awarded the prestigious Diapason d'Or), Bleu, Shaw and Faure, an EP released with PENTATONE in 2024.

Nordic Treasures with Katharina Sames and Mari Inoue curates landmarks of the "Nordic" - musical "snapshots" with individual influencing factors that are excitingly linked by a network of common roots. Apparent opposites interweave to form organic sound languages and merge into a colorful mosaic.

Principal conductor Ivor Bolton will bid farewell to 'his' orchestra, the Basel Symphony Orchestra, in summer 2025 with a 'French' album. He will hand over the baton to his successor Markus Poschner for the new season. So as a farewell, here are symphonic and vocal works by Ernest Chausson. The Symphony in B flat major recorded here is characterised by it's lyrical melody and harmonic sophistication, which builds a bridge between romantic expressiveness and impressionistic sounds. In comparison, the vocal works also presented here, such as 'Viviane' or 'Helene', often have a more intimate, vocal quality that emphasises the human voice. These differences illustrate Chausson's versatility as a composer and his ability to combine fascinating instrumentation with profound emotions in both instrumental and vocal music.

Shorena Tsintsabadze: For me, there is no more beautiful place in the world than Georgia. Everything in it is beautiful and unique. I owe the development of my personality and character to my roots, my family and my motherland, which I am always proud of. With this project, I would like to present the music of Georgian composers from different eras, from the 19th century to the present, in order to give an impression of how the compositional traditions changed and how Georgian classical music developed. Despite the extraordinary musicality of our people, cultural traditions, folklore and Orthodox singing date back to the 4th century BC. Classical music emerged quite late (the first opera and ballet theatre in Georgia was founded in 1851 and the first opera "?" - "Twilight" was not written until 1923 by Zakhari Paliashvili). The reason for such a late development of classical music is the constant struggle for survival and the endless wars from all sides. Georgia is a state with more than 3,000 years of history and during this time there has not been a single generation, including myself and the younger ones, that has not experienced the horrors of war. Despite all this, we not only survived the fighting, but also preserved our culture, the Georgian language and script. Today, when Georgia has received the status of a candidate country and we have never been so close to Europe, the fate of my country is once again in danger. We are forced to fight for our rights and defend the constitution of our country, which is attacked from time to time by certain forces both inside and outside the country's borders. I really hope and want to believe that we will defend the interests of our country and give it the opportunity to continue on it's path towards European integration in order to become a worthy member of the EU family. I think that this album is relevant in the context of recent events and trends in the world. I believe that more people want to get to know our culture, art and music, which my album will definitely contribute to.

Love is the common thread running through this first recorded recital by soprano Vannina Santoni; it's also an opportunity to look back over her fifteen-year career, through her leading roles, alongside her favourite musicians. With the help of the Orchestre National de Lille and Quebecois conductor Jean-Marie Zeitouni, she places her sensual voice at the service of famous operatic arias featuring the amorous heroines of Gounod, Massenet, Puccini ('O mio babbino caro'), Catalini ('Ne andro' from La Wally) and Verdi (Desdemona's poignant 'Ave Maria' from Otello). The programme also includes a rare but sublime aria from Franco Alfano's Tolstoy-inspired opera Risurrezione (1904), as well as the magnificent 'Saint-Sulpice' duet from Massenet's Manon, with tenor Julien Dran. Finally, Vannina Santoni pays homage to her Corsican roots with a new orchestration of the lullaby 'O Ciucciarella' that Corsican mothers have sung to their children for generations.

Clarinettist Peter Cigleris is adding another gem to the SOMM catalogue less than a year after the release of his Clarinet Concertos (with symphonic band) [SOMMCD 0705, October 2025], which featured two world-premiere recordings and was roundly praised by Gramophone's Guy Rickards: "Cigleris is possessed of a beautifully mellifluous tone. A hugely varied, enjoyable programme, then, superbly played and recorded; enjoy!" For this release, Cigleris again offers concertante works, and again two first-ever recordings, but here the tutti forces, rather than winds, are the luminous strings of the London Mozart Players led by John Andrews. The trio of composers is British, and along with Gerald Finzi, whose Clarinet Concerto is justly beloved, come two others keenly deserving of the light this recording sheds on their music. The three works, all composed in the late 40s, are bound together by the common thread of the eminent English clarinettist Frederick Thurston (1901-1953). Denis ApIvor (1916-2004), born in Ireland to Welsh parents, was a chorister at Christ Church, Oxford and then at Hereford Cathedral, where he also studied clarinet, piano and organ. As a teenaged medical student he heard the English premiere of Wozzeck under Sir Adrian Boult and his musical inspiration was renewed, leading to private composition lessons with Patrick Hadley and Alan Rawsthorne. While there is a later version of his Concertante for clarinet orchestrated for an ensemble featuring full strings, harp and celesta, Peter Cigleris opens this album with ApIvor's original chamber version for piano and two percussionists (one on timpani). This early work was conceived during the composer's wartime posting to India, and the premiere (with Frederick Thurston) was given in London after two years of peace, a repeat performance going out live on the BBC Third Programme on 27 January 1948. This recording, the work's first, shows an already impressive thread of musical argument and masterly writing from a 30-year old ApIvor, who would reach the peak of his success some eight years later with his score for the Royal Ballet's Lorca-inspired Blood Wedding. Many who know the name Freda Swain (1902-1985) will think of pedagogical piano solos and be surprised to learn of the Portsmouth native's catalogue of 450 or so serious works including large-scale operatic, orchestral and concertante music as well as varied chamber pieces, all regrettably neglected for too long. Presented here in it's premiere recording, Swain's "Lumine naturi" Concertino for Clarinet is an expressive work in language that draws on tonality yet is highly individual and sweepingly melodic. The genre-title's Italian diminutive belies concerto-worthy length (24 mins) and thematic substance. Each movement bears an epigraph by Algernon Blackwood evoking an ultra-vivid natural scene, hence the Latin epithet: "By the Light of Nature". Though Swain never published the work, it is likely that the tutti of string orchestra anchored by a lone horn accompanies a clarinet part intended for Frederick Thurston, a frequent collaborator and the dedicatee of her Rhapsody for clarinet and piano. Thurston did play the premiere of Gerald Finzi's (1901-1956) Concerto for Clarinet and Strings at the Hereford Three Choirs Festival on 9�September 1949, and the masterpiece has deservedly become the composer's most frequently heard concert work.

The album takes it's title from a vocalise written by Grzegorz Ciechowski for The Witcher, which here becomes a subtle guide through the intimate soundscape of solo piano. Reflective and atmospheric, the record brings together works by leading composers of contemporary classical and film music, alongside original arrangements of iconic Polish songs. Marked by improvisations where restraint meets imagination, and crystalline tone blends with a quietly melancholic lyricism, the album showcases the distinctive personal style of acclaimed pianist Maksym Rzeminski.

This program, dedicated to the melodies of Ernest Chausson (1855-1899), celebrates the music of this worthy representative of the French m�lodie style. Cyril ACHARD (guitar and adaptations) and Kevin Norwood (vocals), two musicians with diverse influences (jazz, classical, early music, etc.), share a predilection for musical expression in it's purest and most unadorned form. Their passion for the beautiful melodies and harmonic soaring characteristic of this bygone musical movement led them to pay tribute to the most enigmatic and misunderstood of all "melodists." As jazz musicians who practice improvisation and readily engage in reinterpretation, they find this program an ideal playground. The unique character of this duo is based on a work of adaptation, even "reinvention" in places, interspersed with improvised sections, allowing the listener to oscillate between two musical universes. Nostalgie du Ciel offers a unique take on the composer's melodies through this original arrangement for guitar and vocals. The album, recorded in an Alpine church, strives to recreate the natural acoustics of the setting, allowing the listener to perceive the sound as it was generated at the source.

Dr. Jerzy Kosmala, internationally acclaimed as a concert violist and pedagogue, has concertized throughout Europe, the former Soviet Union, Canada, North and South America, Asia, and South Africa, and has recordings on several record labels. He is a frequent guest artist and performer at the world's foremost festivals, International Viola Congresses, universities, and academies, and is a permanent jury member of virtually all of the most prestigious international competitions, including the Lionel Tertis, Geneva, Munich, Markneukirchen, Trapani, Primrose Viola Competition, Brahms Viola Competition, and the Concert Artist Guild International Competition in New York City.

In early summer 1929, after returning home from Germany, the Austrian Composer Ernst Krenek embarked on a twenty-day journey through the Austrian Alps, accompanied by his parents and his second wife, Berta. They covered the longer distances between the 14 stops by bus and train, from which they undertook their hikes and excursions. Their route took them from Vienna to Upper Styria, the Salzkammergut region, Carinthia, and East Tyrol, then back to Vienna via Lower Austria. On this journey, Krenek is not just a composer traveling, but rather a poet, stage designer, and philosopher tracing the spirit of the times in his homeland. Just a few days after returning to Vienna, he set to work and, while the impressions of the trip were still fresh, created the music and text for the song cycle almost simultaneously. The Austrian tenor Alexander Kaimbacher and Anna Sushon on piano present the resulting entertaining, often humorous "Reisebuch aus den osterreichischen Alpen" (Travel Book from the Austrian Alps).

When the album by this unlikely duet of Shepp and Parlan playing hymns and spirituals came out in 1978 for the first time, it was an instant success and has become a classic since then. It is a success of unique theme (by the producer Nils Winther) and of sheer strength of musical material and of performance executed with grace and sensitivity. “...an overwhelming and emotional listening experience.” (Atlanta Journal Weekend) 180g Audiophile Vinyl

Charlie Parker’s favourite pianist and the composer of the famous “Jordu” Duke Jordan (b. April 1, 1922 in New York) ended his five-year seclusion from the jazz scene when he was invited to play and record in Denmark in 1973. This first recording by Jordan for SteepleChase turned out to be an enormous success which brought Jordan back in the spotlight. “...I am convinced that this is Duke Jordan’s finest record...” (jazz Journal International) “...a totally captivating listening experience...” (Billboard) 180g Audiophile Vinyl

Three years after the sensational spiritual recording by this duo “Goin’ Home” (SCCD 31079) producer Nils Winther had Archie and Horace in the studio again. The theme this time was traditional blues. Once again the Shepp-Parlan duo made one of the best-selling SteepleChase releases. England’s Gramophone magazine called the duo “a powerful and ultimately inspirational collaboration”. This recording was awarded the Deutscher Schallplattenpreis for Modern Jazz Und Jazz-Rock of 1982 by the prestigious Deutsche Phono Akademie. 180g Audiophile Vinyl

“...Witchdoctor’s Son contains the most infectious, buoyant, gleeful music...the interaction between Pukwana and Tchicai’s vastly differing phrase sensibilities is one of the joys of this recording...” (Lange, Down Beat) “...from Dyani’s most consistently inventive period...” (The Penguin Guide To JAZZ)

“...Betty Carter and Sheila Jordan are probably the only real jazz singers in the world today... Jordan creates an entirely personal atmosphere...” (Melody Maker) “... Sheila Jordan personifies a song like no one has since Billie Holiday.” (Unicorn Times) “...Her talent is unquestionable.” (Billboard) “...a spiritual experience and heart-to-heart communion....Jordan makes these tunes all her own, with personal, almost prayer-like readings...” (Down Beat - *****)

“...outstanding among [Chet’s] later recordings....This is a record to give a listener fresh heart...one feels there cannot be much wrong with jazz while it is producing records like this.” (Max Harrison, International Jazz Journal) 180g Audiophile Vinyl

Duke Jordan (1922-2006) famous for his intense lyricism embarked on the world jazz scene as a member of the classic Charlie Parker Quintet in the late 40s with his trademark introduction to “Embraceable You”. Jordan unlike many other American jazz musicians in Bebop era found his artistic and personal living space in Europe since the early 70s. His extensive recording output on SteepleChase including this album from 1985 recorded in Denmark makes up the huge part of his discography. “A most agreeable set that is both eminently listenable and very enterprising .… Jordan was always a fleetly swinging but subtle pianist whose all-round musicianship has never got the recognition it merits. This fine trio deserves to sell well and spared his name further afield.” (Richard Palmer, Jazz Journal International)

The Heart of the Cello (compilation - 30th Anniversary of death: October - Jacqueline du Pr� - "She clearly was born to play the cello," wrote the New York Times of Jacqueline Du Pr� in 1967. Just five years later her career was cut tragically short by illness. Du Pr�'s recordings provide a treasurable memento of the "perfect balance of youth and maturity" that her teacher, William Pleeth, found in her music-making: "She approached each new experience with spontaneous pleasure and enthusiasm." Offering a vivid experience of her life-enhancing art, this 2-CD set of concertos, sonatas and chamber works features recordings remastered in 24-BIT / 96kHz at London's famous Abbey Road Studios.

Alice Sara Ott - "Johann Johannsson: Piano Works" Johann Johannsson: Piano Works, recorded by pianist Alice Sara Ott, is a selection of the late Icelandic composer's most famous works - reimagined for solo piano. These premiere recordings of the piano scores published recently by Faber Music are hauntingly beautiful interpretations, capturing the essence of Johann Johannsson's music. The album includes some of his most iconic works from films such as The Theory of Everything, Personal Effects, and Copenhagen Dreams, as well as from his studio albums including Orph�e and Englaborn. CD Mintpack.

Roger Eno - "Without Wind, Without Air". The British composer and multi-instrumentalist Roger Eno presents his 3rd solo album with DG. Without Wind, Without Air is an 8-track album featuring orchestral pieces and piano solo tracks, including features by Cecily Eno and a stunning vocal track, composed and sung by Roger Eno himself. Available on vinyl in gatefold jacket.

Roger Eno's "The Turning Year" opened a window into the insights of the British composer. Now, Eno has revisited and expanded this repertoire for a series of three EPs featuring a combination of illuminating reworks, previously unreleased tracks, and gems from the album sessions. "The Turning Year - Rarities" sees him collaborate with violinist Rosie Toll, Scoring Berlin, his daughters Cecily and Lotti Eno, as well as presenting many of his own solo works.