A surprising and refreshing journey which explores the confines of the repertoire for saxophone and piano, Walking the Dog unites two formidable virtuosos of the contemporary classical scene, the Austrian Andreas Mader and the German Joseph Moog.

Walking the Dog is a multifaceted work, an authentic melting-pot, a surprising witness to the richness of the international musical scene at the beginning of the 20th century. One would then encounter styles as diverse as the mambo, the merengue, the habanera, or the samba, or even fusions of these seemingly separate genres.

Andreas Mader and Joseph Moog open their recital with Gershwin's Rhapsody in Blue in the inspiring version of the Japanese Jun Nagao. Under their sensitive and incisive fingers, it becomes the spirit of Jazz itself, sparkling and fresh. The Suite of seven pieces adapted from Prokofiev's Romeo and Juliet pursues it in a trenchant and caustic way: the saxophone, part soprano part tenor, displays all its colours.

This programme also pays tribute to France – a well-deserved homage to the country where Adolf Sax fathered such a great family of instruments. Some works are iconic, such as Debussy's Rhapsody (in a new and impressive version by the saxophonist), Milhaud's Scaramouche, some less known, like the Two Pieces by Lili Boulanger, and we have a genuine rarity, the Five Exotic Dances, a brilliant and exciting suite of miniature compositions from 1961 by Jean Francaix. Andreas Mader and Joseph Moog conclude their journey by a return to the origins – New York – by giving us the little Promenade, under the title "Walking the Dog", that Gershwin composed for the film Shall We Dance with Fred Astaire and Ginger Rogers.

This is an absolutely thrilling album which arouses both curiosity and senses, a true revelation from this surprising duo. It is impossible to resist Andreas Mader's voluptuous saxophone interlocked into the golden piano playing of Joseph Moog.

For her 24th recording for Cedille Records, violinist Rachel Barton Pine joins forces with period instrument specialists David Schrader, John Mark Rozendaal, and Brandon Acker to record Arcangelo Corelli's seminal set of 12 Violin Sonatas, Op. 5. "An exciting, boundary-defying performer" (Washington Post), Pine has been described as "a most accomplished Baroque violinist, fully the equal of the foremost specialists" (Gramophone). Known for her versatility across a vast repertoire - from Renaissance to heavy metal - she has studied period performance practice extensively and performs on the viola d'amore, renaissance violin, and medieval rebec. She has appeared as soloist with Apollo's Fire, the Seattle and Indianapolis Baroque Orchestras, Baroque Band, and Ars Antigua, and has performed concertos with Nicholas McGegan, Jeannette Sorrell, and Frans Bruggen. Published in 1700, Corelli's Twelve Violin Sonatas are foundational in the evolution of both the sonata and concerto forms. This recording explores these compositions through a historically informed approach, utilizing an array of period instruments, each chosen to enhance the expressive nuances of Corelli's music. Reflecting the era's experimental spirit, the ensemble embraces the interpretative freedom suggested by Corelli's original scores. Schrader alternates between organ and harpsichord, Rozendaal between violoncello and viola da gamba, and Acker performs on theorbo, archlute, and baroque guitar. Pine, inspired by the versatility of her colleagues, performs the famous "Follia" variations (Sonata No. 12) on an original-condition Gagliano viola d'amore, exploring this rarely used instrument in an authentic historical context. Corelli: Violin Sonatas, Op. 5, was produced and engineered by the Grammy-winning team of James Ginsburg and Bill Maylone. It was recorded on February 21, 23, and 25, 2024 and April 29-May 2, 2024, at Nichols Concert Hall in Evanston, IL.

Spiegel i'm Spiegel Celebrating Arvo Part at 90 This album, titled after one of Arvo Part's most beloved works, is a meditative tribute marking the composer's 90th birthday on September 11, 2025. On Spiegel i'm Spiegel, music becomes a mirror: between composers, across centuries, and within the listener. At it's heart are three works by Part-Fratres, Da pacem, and Spiegel i'm Spiegel-each embodying his signature language of stillness and spiritual clarity. They are framed by pieces that resonate with his sensibility: Olivier Messiaen's contemplative Louanges, Johann Sebastian Bach's luminous Sonata for Viola da Gamba, and Alfred Schnittke's brooding Cello Sonata. Performed by Onute Grazinyte and Edward King, with the Aidija Chamber Choir led by Romualdas Grazinis, this collection invites deep listening. From Bach's elegant counterpoint to Messiaen's timeless devotion, each work reflects a shared search for the eternal. A sonic meditation on peace, prayer, and presence-this is music that mirrors the soul. Recorded at Studio Residence Paliesius, May 2025

These are works by Makkonen, Bartok, Bach, Semionov, Lukes, Kovac Galliano, Hermosa, Messiaen inspired by dance and folk music performed by Anna Paulova and Jiri Lukes

Luminous, sublime, joyful. The soundscapes and emotions captured in the latest disc from Somerville College Choir abound with light. In this curated selection of music from the Indian subcontinent, you will find a vibrant expression of what might be called the living Indian Choral tradition. As plural and changing as light within a prism, the album moves from the fluid harmonies of a Konkani wedding song to deep somatic meditations inspired by the poetry of Rabindranath Tagore, from Hindi secular poetry associated with the changing seasons to a whole-choir explosion of joyful rhythmic syllables in Reena Esmail's virtuosic raga exposition. In this humble tribute to the monumental tapestry of Indian classical music, the Somerville College Choir gives the oldest expression yet of it's aspiration to embrace musical styles far beyond the liturgical canon.

To mark the 400th anniversary of Orlando Gibbons's death, organist and harpsichordist Stephen Farr presents a stunning tribute to one of England's greatest composers of the early seventeenth century. Gibbons, who served at the Chapel Royal and Westminster Abbey, was celebrated for his virtuosity and innovation, bridging the Renaissance and Baroque eras. This album explores the full breadth of his keyboard oeuvre, from intricate fantasias and evocative pavans to lively dances and variation sets. The album includes the Fantasia for Double Organ, showcasing Gibbons's mastery of contrapuntal invention, and the poignant Pavan and Galliard Lord Salisbury, composed in honour of the composer's noble patron. Farr's insightful interpretations reveal the expressive depth and technical brilliance of Gibbons's music. A compelling homage, this recording underscores Gibbons's lasting influence on English keyboard music.

The illustrious French organ tradition is celebrated in this album of Toccatas and Meditations, including masterpieces drawn from across the repertoire. Charles-Marie Widor was the founding father of the French Organ School, and his Toccata from Symphony No. 5 is a cornerstone of the organ repertoire. The Meditation by his contemporary Louis Vierne is among the highlights of Romantic organ works. Durufle, Boellmann and Guilmant are also represented, as is a beautiful Ravel arrangement. They're played on the magnificent Grenzing organ at Bauernkirche Iserlohn by Dariia Lytvishko - a Ukrainian-born virtuoso and one of the most lavishly gifted organists of her generation.

Jerrick Cavagnaro, the First Prize Winner in the 2024 American Guild of Organists' (AGO) National Competition in Organ Improvisation (NCOI), releases his debut solo album with Pro Organo, performing upon the historic, renovated pipe organ of Trinity Church, Copley Square, Boston. The program contains both repertoire selections and several of Mr. Cavagnaro's organ improvisations in a variety of musical styles.

Discover songs to connect, heal, and inspire on the U.S. Navy Band Sea Canter Chorus’ recording “Safe Harbor”. These musicians have played a vital role in comforting America in times of mourning, and this recording follows in those footsteps

Christmas simply wouldn't be Christmas without the iconic voices of The Sixteen providing a soundtrack to the season. Celebrated for collections that provide an alternative to the customary festive offerings, this new album from the world-renown choir is no exception. No other festival in the Christian year has inspired so many composers and such a variety of musical styles as Christmas. The Wise Men and the Star features a veritable cornucopia of yuletide music from the premieres of three new works to traditional carols including Away in a manger and In the bleak midwinter, and modern classics such as Eric Whitacre's Lux aurumque and Mykola Leontovich's Carol of the bells. This new album promises something for everyone.

Imitation is the ultimate compliment. To take inspiration from someone else’s work, to borrow and rework it to form another piece…what could be more flattering? This technique, known as ‘parody’, was hugely popular in late 16th-century Europe and Orlande de Lassus was one of its most famous advocates. The Sixteen’s programme showcases the master of parody at work and also features a new commission from the extraordinarily inventive composer Bob Chilcott parodying one of Lassus’ finest secular madrigals.

Also included are two mini masterpieces by Maddalena Casulana - the first female composer to have had a whole book of her music printed and published in the history of western music and whose work was widely admired, not least by Lassus.

Josquin des Prez: the name evokes beautiful, brilliant, even magical music—but more than five centuries since he composed his last note, we are still discovering how to hear him. In this album, originally conceived to mark the composer’s quincentenary in 2021, Cut Circle strives to treat Josquin not as a sleepy relic of the distant past but as a stylish, sensitive, playful, ecstatic composer. We foreground his revolutionary precision and drive while embracing reactions to the music that are visceral and emotional.

Take time in the summer to think about the winter, country folk would say. That is just as true of CD albums compiled to celebrate the happiest days of the year. In this record-breaking sultry summer, Ludwig Guttler has been giving some thought to how to celebrate the 200th anniversary in 2018 of this global song appropriately. "It is one of the first carols I learned to play on the accordion, a present I was given for Christmas after my fifth birthday," recalls Ludwig Guttler, who remembers that when he was a child, everybody sang along. In fact it took him a long time to understand how anybody sitting in church could stay still to the sound of "Stille Nacht". In addition to the best recordings from his gigantic catalogue, there are also recordings that have not yet been publihed: Guttler has arranged "Silent Night, Holy Night!" for his brass ensemble, clad each of the six verses in an instrumental garb of it's own and recorded it in the summer in Zwettl in Austria.

Le Secret, Music for Cello & Harp

The present edition contains the complete productions released by cpo between 1993 and 2018 on the subject of Michael Haydn's symphonies and wind concertos. During the course of a quarter of a century, as might well be imagined, a wealth of material accumulated that could not be put to renewed use without considerable cuts. Nine authors had contributed information about the sources and special qualities of the music to the original releases, which necessarily led to duplications, repetitions, and other redundancies that were to be avoided in the compilation. Moreover, it took some time for the numbering system currently in use for the works to be implemented. The authors initially continued to refer exclusively to the �Thematisches Verzeichnis der Instrumentalwerke von Michael Haydn� (to which we have assigned the letter P) that Lothar Perger had presented in the Denkmaler der Tonkunst in osterreich (DTo). The �enumeration� by the American musicologist Charles H. Sherman (1929-2018) later began to Appear in the booklets. Sherman initially compiled a provisional catalogue and then in 1993 published Johann Michael Haydn: A Chronological Thematic Catalogue of his Works in collaboration with T. Donley Thomas. This chronological listing (MH) and the P numbers, which soon will be 120 years old, are used whenever possible for the identification of the works recorded here. Our wish is that this unique edition may bring you great pleasure.

Coming soon

Johann Sebastian Bach: Sonaten und Partiten Vol. 1 (BWV 1003, 1004) Denis Goldfeld, violin Johann Sebastian Bach's sonatas and partitas for solo violin are among the most important works in the violin literature. Probably composed in Kothen around 1720, they combine profound musical expressiveness with technical brilliance. The collection consists of three sonatas in the traditional church form (four movements: slow-fast-slow-fast) and three partitas, which vary the dance movements. The Chaconne from Partita No. 2 in D minor is particularly well-known, a monumental work that is considered the pinnacle of Baroque solo violin art. In these compositions, Bach demonstrates a masterful combination of polyphony, structure and emotional depth - on an instrument that seems barely capable of polyphony.

Sir Andrew Davis was a talented keyboard player as a child and teenager, and after study with Peter Hurford, at St Albans, he spent four years at the University of Cambridge as organ scholar at King's College, under Sir David Willcocks. It was this period of his life that sparked his love for and appreciation of the organ works of J.S. Bach, which remained a lifelong passion. Sir Andrew made all the transcriptions on this album for the BBC Philharmonic, and four of them were recorded in November 2023. Sadly, Sir Andrew died before the final recording sessions for the album could take place (September 2024): we are immensely grateful that he completed the arrangements, and very thankful to Martyn Brabbins for completing the recording with the sense of style, love, and affection that Sir Andrew would have admired.

Niklas Jahn, winner of the 9th International Organ Competition Musashino-Tokyo in 2023, was appointed organist at the Frauenkirche in Dresden in December 2024, the site of an acclaimed concert by Johann Sebastian Bach in 1736. This album features two works by Bach, including the monumental Toccata and Fugue in F major, as well as Toshio Hosokawa's celestial Cloudscape, and the ultravirtuosic Feuertaufe by Zsigmond Szathmary. French repertoire by Messiaen and Vierne can also be heard alongside Brahms whose Chorale Preludes are among the last pieces he composed.

William Grant Still (1895-1978) from Little Rock was a pioneer in many ways. He was the first African American to successfully depart from the generally acceptable genres of jazz and pop. He lived to see a symphonic work and an opera of his performed, he conducted the Los Angeles Philharmonic and directed an important Southern orchestra. The respect that he acquired is reflected in two Guggenheim fellowships and five honorary doctorates, as well as a growing number of top-quality recordings of his works. This album is dedicated to the composer's impressive art songs. Two dozen works, including simple spirituals, expansive, declamatory and captivating scenes, touching miniatures and provocative challenges paint a portrait of a self-assured man asserting his musical authority.

Their fifth release on Signum Classics, the "engaging" (New Yorker) men's vocal en- semble Cantus present a collection of songs cycles by contemporary and living com- posers, exploring different kinds of journeys through song. "These contrasting song cycles share an embrace of change, growth, acceptance and renewal, and through the collective experience of their journeys - great and small, painful and magical - we gain a clearer picture of life and of ourselves" - Cantus

Alfred Brendel's least known recordings are the four LPs he made for the US label SPA Records in the early 1950s. Until now, none has been given a full commercial release in the digital era but among them is a recording which is surely one of the most important in Brendel's discography - that of Busoni's 'Fantasia Contrappuntistica', the composer's monumental response to Bach's 'Art of Fugue'. We are delighted to reissue it here with Mr Brendel's blessing, along with his first solo LP, the complete recording of Liszt's 'Weihnachtsbaum'. Both these works were recorded premieres at the time and the pianist was not to return to them again in the studio, so this marks an important addition to his available discography. The booklet contains a note by the pianist himself, written specially for this release, with his reflections on Busoni and the Fantasia Contrappunctistica.

When the Arts Council's Welsh Committee approached Grace Williams in the summer of 1959 with the offer of a commission to write a one-act opera, this was an opportunity to realise a long-cherished ambition. For her libretto, the composer turned to the French satirist Guy de Maupassant's savagely funny short story en Famille in which the apparent demise of a cantankerous matriarch uncovers the greed of family members. She wrote her own libretto for The Parlour, embellishing and refining Maupassant's story for dramatic purposes and transferring the setting from the banks of the Seine in France to the living room of a house in a Victorian seaside town. Structured in two scenes framing a brief interlude, the drama unfolds during a summer's day in 1870. The Parlour reveals Grace Williams as a natural composer for the theatre, with a flair for character delineation and development. The fast pace means there is no time for a formal overture and the drama begins without preamble. The compact arias, ensembles, recitatives and choruses arise naturally from the music, which is continuous, and there are no long numbers to inhibit the flow of the narrative. As the composer admitted, 'There's quite a lot to say in a short time. So whatever else I'll be accused of, I hardly think anyone could say that the opera drags'. At it's first performance, The Parlour was given a sustained ovation by an enthusiastic audience and there were some very good press notices. Writing in The Sunday Times, Felix Aprahamian was profuse in his admiration, describing The Parlour as 'hilarious' and 'an undoubted hit', going on to remark that 'the piece progresses with perfect clarity and a fine sense of musical contrast'. He concluded his observations by commenting that 'Miss Williams shows a remarkable feeling for musical proportion in her very first operatic essay'. � Paul Conway

'When I'm composing, not only have I to create music, I must also search for the best way of putting it across. It means being on the alert the whole time; writing - then criticizing what I've written - and if it won't do, scrap it and start again - more criticism - and so on until I've done everything within my power to make the music live and flow naturally'. These insights from Grace Williams into her approach to the compositional process show her strong desire to communicate fluently and sincerely with her listeners. Also evident from this quotation is her professionalism, technical integrity and formidable capacity for self-criticism. She held herself and her art to the highest standards, withdrawing and destroying scores which failed to live up to her ideals. It can be inferred from this that she regarded the works which survived elimination as worthy of her musical legacy.

The performers write: ‘Selecting the repertoire for our album Path to the Moon, we wanted to explore a number of possibilities for binding together a programme. To place different works alongside one another is a wonderful way of bringing out new and unusual qualities in each piece. William T. Horton’s fantastic image The Path to the Moon immediately inspired a flurry of ideas, including works on the subjects of both night and the moon, as well as pieces which invoke the exploratory nature of humankind’s voyage to the moon. Britten wrote his Sonata for Cello and Piano only two years after the first object made by humans had touched the surface of the moon, in 1959. Humans throughout history and from all cultures have been drawn to and taken inspiration from the moon and we have tried to reflect this in our eclectic choice of song repertoire: from Toru Takemitsu to Nina Simone and from Lili Boulanger to Florence Price. As we hope you will hear on this album, Walker’s Cello Sonata rings with echoes of the sound-worlds of blues and jazz and is infused with a beautiful lyricism. We really believe that Walker’s Cello Sonata deserves to become a staple of the chamber music repertoire and are absolutely thrilled to offer you a recording of it in the context of our own exploration of a path to the moon.’

Three years after their album of works by J.S. Bach (FUG 792), flautist Toshiyuki Shibata and keyboard player Anthony Romaniuk now record works not only by Bach but also by his sons Carl Philipp Emanuel and Wilhelm Friedemann, "the most original and innovative" of the lineage, according to Shibata. Both musicians were trained in historically informed interpretation in Belgium and admit their fascination for Art Nouveau, stating that it harmoniously combines tradition and innovation; they have also been influenced by other musical traditions, including jazz and contemporary music: "Preludes and improvisation were essential elements of music-making in the 18th century - for us it's natural to add preludes and postludes to our performances," says Shibata, who plays three traversos, copies of instruments by after Buffardin, Eigentopf and Quantz; Romaniuk plays a Flemish harpsichord and a Silbermann fortepiano. Their programme includes improvised preludes, a bold ending to BWV 1032/I and an original extra movement - a Gigue from BWV 997 with influences from several genres woven into it's bass line, honouring both tradition and invention.

Parallels is meticulously curated album that explores the organ’s remarkable breadth and sonority. Featuring three monumental organ works and delightful arrangements of English classics, the collection is a testament to the grandeur and versatility of the instrument.

Florence Price's Suite No. 1, makes its debut commercial recording. This substantial and captivating composition draws inspiration from spirituals, hymns, and pentatonic themes, showcasing a harmonious fusion of jazz influences. The rhythmic drive and themes in the final Toccato pay homage to the engaging Rubrics by Dan Locklair, creating a seamless connection between the featured works. The album's title, Parallels, reflects Florence Price's artistic vision, aiming to convey a heritage through the past while being influenced by contemporary contacts. This intention is beautifully realised in Suite No. 1, where the chromatic harmony reminiscent of Suite Gothique meets the rhythmic vitality of Rubrics. As a nod to the present day, the album includes Alexander's own arrangement of Coldplay's hit single Paradise, seamlessly blending modernity with Price's timeless compositions. Parallels is not just an album; it's a transformative auditory experience that invites listeners to explore the intersections of tradition and innovation on the Harrison and Harrison organ. The past converges with the present in perfect harmony.

The surprise appearances of music not typically associated with the organ successfully adds an element of excitement and discovery. The album also features splendid organ arrangements of English staples like Elgar's Chanson de Matin and Pomp and Circumstance, further showcasing the instrument's versatility. "Parallels" is an invitation to discover the intersections of tradition and innovation, a celebration of timeless compositions, and a showcase of the capabilities of Cheltenham College Chapel’s Harrison and Harrison organ. This album also celebrates the 150th anniversary of Gustav Holst’s birth with the inclusion of Jupiter, the Bringer of Jollity fromThe Planets Op. 32 arranged by Thomas Trotter.

Alexander Ffinch has established himself as a renowned organist with performances spanning the UK, Europe, USA, and Asia. Notable for his role as the College Organist at Cheltenham College since 2004, Alexander oversees daily organ performances in the College Chapel and accompanies choirs while maintaining an active schedule as a recitalist, featuring prominently in events like the Cheltenham International Music Festival and BBC Radio 3 broadcasts. His 2019 album, "Transformations" (DDA 25193), received critical acclaim.

Bach's Goldberg Variations stands among the most profound works in the Western canon-an inexhaustible exploration of harmony, structure, and human expression. Originally written for harpsichord, this timeless masterpiece has inspired countless interpretations across instruments and generations. In this remarkable new arrangement by Caitlin Broms-Jacobs for oboe, English horn, and bassoon, the Tacamis Trio reimagines Bach's contrapuntal writing through the warm and expressive voices of the double reed family. Formed within the Manitoba Chamber Orchestra, the Tacamis Trio [Caitlin Broms-Jacobs (oboe/arranger), Tracy Wright (English horn), and Allen Harrington (bassoon)] brings over a decade of shared artistry and ensemble unity to this recording. Their performance unites warmth and transparency, allowing each voice to emerge naturally within Bach's intricate counterpoint. This project, conceived during the stillness of the pandemic, grew from a period of isolation into a celebration of collaboration and renewal. Through the process of arranging and performing the work, the trio uncovered fresh dimensions of colour and dialogue in Bach's music, affirming it's boundless adaptability and emotional reach. Goldberg Variations for double reeds is at once a homage and a discovery-a return home through sound, guided by friendship, resilience, and Bach's enduring genius. About the Artists Caitlin Broms-Jacobs is principal oboist of the Manitoba Chamber Orchestra, praised for her "gorgeous singing tone" and "sensitive musicality" (Winnipeg Free Press). She performs widely across Canada as a soloist and chamber musician and is one half of the oboe-piano duo Fierbois. Tracy Wright is the English hornist of the Manitoba Chamber Orchestra and a longtime member of the Winnipeg Symphony Orchestra. Known for her expressive sound and collaborative artistry, she appears regularly in chamber, orchestral, and new-music performances across the Prairies. Allen Harrington is professor of woodwinds at the University of Manitoba's Desautels Faculty of Music, where he teaches bassoon and saxophone. A versatile performer, he appears frequently as a soloist and chamber musician and serves as principal bassoonist with the Manitoba Chamber Orchestra.

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

There are moments in music when time seems to pause, and with Arcangelo Corelli's music, I have experienced that enchanted stillness-where each note is not just heard but felt deeply. His music, elegant and radiant, is the gentle whisper of a bygone era, yet it breathes timeless warmth and light. Corelli's art is a delicate conversation between violin and continuo, a living breath of harmony and counterpoint that dances with noble grace. Each phrase unfolds like a tender story, where voices seek, answer, and embrace one another-like cherished friends sharing secrets across the ages. It was through my mentor, Ryo Terakado, and his luminous recording of the Violin Sonatas, Op. 5 that I first stepped into this radiant world. Since then, Corelli's melodies have been a constant companion-like a soft glow in the twilight, a source of inspiration and solace. Corelli's influence extends far beyond my own story. His style shaped the musical language of generations-admired openly by Francois Couperin, absorbed deeply into the work of Jean-Marie Leclair, and echoed, even centuries later, by virtuosi such as Pablo Sarasate and Niccolo Paganini. His music is both spiritual and earthly-a beacon of simplicity and profound beauty. I am deeply grateful to Ryo Terakado for guiding me to this wellspring of grace, to Kaori Uemura and Francois Guerrier for their artistry, and to our magical producer Guido Tichelman and the Byucksan Corporation for nurturing this project. -�Eun-Shik Kim