Also available: Bach: Sonatas and Partitas, Vol. 1 / Zimmermann

Since the mid-1980s, Frank Peter Zimmermann has earned recognition as one of the world’s leading violinists, admired not only for his technical skill and interpretive intelligence, but also for his versatility in a wide-ranging repertoire. His extensive discography ranges from Bach concertos and Beethoven sonatas to works by composers such as Martinu, Ligeti, Magnus Lindberg and Brett Dean. He waited until the fourth decade of his career, however, to take on Bach’s Sei solo a Violino senza Basso accompagnato, the six sonatas and partitas for solo violin. The first disc (BIS-2577) dedicated to this absolute pinnacle in the repertoire for the instrument was released in February 2022 to great critical acclaim. Now comes the much-awaited conclusion to this collection. Zimmermann compares these works to ‘a mighty tree, which protects me and crushes me at the same time’, the music giving him hope and strength at the same time as it confronts him with his limits as a violinist. On this new release, he now offers us the Sonata No. 1 in G minor, as well as the B minor Partita No. 1 and the Sonata No. 3 in C major.

Two multi-choir Masses from mid-17th-century Rome (one for Easter, the other based on Palestrina's motet for Pentecost) complete I Fagiolini's dazzling series exploring the 'Colossal Baroque' and paying tribute to the 'lost' music of Orazio Benevoli. Maestro of the Cappella Giulia at St Peter's, Rome, Benevoli's mastery of surround-sound is clear in these very different works. The sheer quality of his music shines through and, sung by a group at the height of it's powers, changes our view of 17th-century multi-choir music. All the Masses in I Fagiolini's Benevoli series are premiere recordings.

The harpsichord concertos of J.S. Bach form the origins of the keyboard concerto genre that was to continue to flourish through the music of his sons, C.P.E. Bach and J.C. Bach, and onwards. Here, celebrated keyboardist Steven Devine is joined by members of the Orchestra of the Age of Enlightenment in this recording that features the Concerto in D minor, BWV 1052, Concerto in A major BWV 1055, and the Concerto in D major BWV1054, together with a new reconstruction by Steven Devine of the Concerto in D minor BWV 1059.

Puccini is renowned as one of the greatest opera composers of all time, and his early works - before Manon Lescaut catapulted him to international fame - offer a fascinating insight into his development as a composer. John Wilson and Sinfonia of London explore this repertoire with characteristic style and commitment, leading us on a journey through student compositions and orchestral extracts from his earliest operas. Studying under Amilcare Ponchielli at the Milan Conservatory from 1880 to 1883, he created the Preludio sinfonico (loosely based on Wagner's Prelude to Lohengrin), the Scherzo, Trio, and Adagetto, and Capriccio sinfonico, his graduation piece, which famously pre-echoes the opening of La bohème by a decade. The one-act opera Le villi was composed for a competition launched by the publisher Sonzogno (Puccini didn't win), whilst themes from the contemporaneous Tre minuetti and Crisantemi (both for string quartet) were subsequently re-cycled in Manon Lescaut. Verdi's publisher, Ricordi, bought the rights to Le villi, and commissioned a new work at the same time: Edgar, which, largely owing to the absurd plot, is arguably Puccini's only failure, despite some fully mature music easily the match of the more celebrated scores.

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.

Jean Langlais was born on February 15, 1907, in La Fontenelle, Brittany, France. He became blind from the age of two. Sent to the Paris National Institute for the Blind Youth in 1918, he studied piano, violin, harmony and organ with great blind teachers (among others Albert Mahaut and Andre Marchal). Later on, he entered the Paris National Conservatory of Music in the Marcel Dupre's organ class, obtaining a First Prize in 1930. In 1931, after studying improvisation with Charles Tournemire, he received the "Grand Prix d'Execution et Improvisation des Amis de l'Orgue". He completed his studies obtaining a Composition Prize in Paul Dukas' class at the Paris Conservatory in 1934. In 1945, he became the successor to Cesar Franck and Charles Tournemire at the prestigious organ tribune of Sainte-Clotilde in Paris. He gave countless concerts worldwide, and was a prolific composer. He died on May 8th, 1991 in Paris. Langlais' distinctive style combined traditional harmonies with contemporary techniques. His compositions often feature intricate organ textures and colourful harmonies, influenced by his background as a church musician. Langlais was also known for his use of modes and complex rhythms, which added to the unique character of his music. His works often have a strong emotional intensity and sense of drama, with frequent shifts in mood and dynamics. This is the third volume of the complete organ works includes sonatas, suites, Noels, the Symphony "Alla Webern", and many miscellaneous shorter works. Played by 3 excellent Italian organists: Giorgio Benati, Fausto Caporali and Alessandro Perin. The extensive booklet includes information on the organs used on this album.

Blind from the age of two, a prodigiously gifted student, Jean Langlais (1907-91) produced an immense quantity of music. His organ works alone exceed in number those of JS Bach. Many have hardly ever been performed. Perhaps not more than half a dozen works are regularly played or recorded today, which is what makes this new complete survey of his organ music so invaluable, as the authoritative document of a high point in the distinguished lineage of the French organ heritage. The second volume of this complete survey opens with the third and last of his organ symphonies, among the most imposing and yet overlooked of his major works. More familiar are the Gregorian-inspired Suite medievale, the Triptyque, and the Triptyque Grégorien, whose flowing melodies share a spirit of Catholic mysticism with briefer meditations such as the Prière des Mages, the Incantation pour un Jour Saint and the Palm-Sunday voluntary Dominica in Palmis. As a collection of character pieces, Mosaique shows off Langlais's versatility, by turns solemn and joyful, songful and stormy. This sheer variety of form alone makes him stand out among French 20th-century composers for the organ. Throughout his life, Langlais wrote in many different styles and, true to his ideal, still retained the ability to surprise. This major project has been undertaken jointly by the Italian organists Giorgio Benati, Fausto Caporali and Alessandro Perin. Benati is a former student of Langlais, and Caporali has a string of successful French organ recordings to his credit. They have made these new recordings on Italian instruments, lending Langlais an 'Italian accent' while faithfully observing his expressive and registration markings in his scores. Booklet notes for each piece have been written by Giorgio Benati.

Ahead of the 80th birthday of one of Britain's most singular compositional voices, this double album presents the complete organ works of Michael Finnissy a body of music as rich in intellectual depth as it is in imagination. Performed with careful nuance by acclaimed American organist Forrest Eimold, these works span over six decades and chart the evolution of a composer constantly challenging himself to think beyond presumed forms. At the heart of the collection are Finnissy's four Organ Symphonies: bold, searching works that pay homage to and wrestle with the legacies of Beethoven, Brahms, Bruckner and Mahler, while also evoking the French organ tradition of Vierne and Widor. "Why even write a Symphony?" Finnissy asks in a personal note for this release. "To explore and learn. To challenge oneself with the abiding presence of awe-inspiring history... to locate a rhetoric which fearlessly approaches the 'higher world of knowledge.'" From the youthful drama of ... ere the set of sun...  (written as incidental music for MacBeth in 1965) to the industrial solemnity of Blackburn (2022), the album presents not just a body of work but a kind of inner autobiography. The Hymn-Tune Preludes - transformations of Sacred Harp and Norwegian folk melodies - offer a striking contrast: intimate, harmonically volatile, and unhitched from convention. Even the earliest works here, like the student piece Xunthaeresis, reveal the seeds of a language already driven by risk and complex expression. Forrest Eimold, a formidable interpreter of 20th and 21st century keyboard music, brings dazzling technique and interpretive depth to this music. His command of registration, colour, and pacing allows each piece - from the vast landscapes of the symphonies to the epigrammatic preludes - to speak with clarity and conviction. Recorded on a range of instruments, including the organ of the UK's Blackburn Cathedral, this is a release release which anchors Finnissy's contribution to the organ repertoire as one of bold imagination and philosophical depth. It also continues Metier's retrospective celebrations for Finnissy's 80th year, with further releases to follow.

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

It is no exaggeration to call Fritz Kreisler (1875-1962) one of the two or three most significant Austrian violinists in music history. Decades after his passing, his name remains a vibrant touchstone for music lovers worldwide. Viennese pianist Andrea Linsbauer, who has long immersed herself in Kreisler's enduring legacy, now unveils a singular project with the album "Fritz Kreisler's Heirs". Here, she gathers five of Austria's most celebrated violin virtuosos today Benjamin Schmid, Ekaterina Frolova, Leonhard Baumgartner, Christian Altenburger and Daniel Auner to offer their deeply personal interpretations of Kreisler's miniature masterworks. That these artists have been Andrea Linsbauer's recurring duo partners for years is evident in every note: each performance resonates with the intimacy of shared musical dialogue, honoring Kreisler's own spirit of reinvention.

Four-time BAFTA winning composer Christopher Gunning, has composed twelve symphonies as well as concertos for the piano, violin, cello, flute, oboe, clarinet, saxophone, and guitar. Here the BBC National Orchestra of Wales and conductor Kenneth Woods, perform his eighth and ninth symphonies, recorded in Hoddinott Hall in March 2024. "Each scored for a moderatelysized orchestra (the 8th has only one trumpet and no lower brass, while the 9th adds a second trumpet, a harp, and a small percussion section) and both [grapple], in Gunning's highly individual way, with the legacy of classical symphonic form" - Richard Bratby. [9th Symphony] "I believe this piece has a strong emotional flavour but if you try and untangle the story you're going to end up with your own story - and to me, that is absolutely perfect." - Christopher Gunning. "Gunning's [...] symphonies, numerous concertos and sundry orchestral pieces are as meticulously wrought as they are powerfully conceived." - Gramophone

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.

Sebastian Weigle conducts this acclaimed Oper Frankfurt production of Rimsky-Korsakov’s operatic rarity Christmas Eve. This CD version is taken from the same live performances as the DVD/Blu-ray, released in November 2022 (2.110738 and NBD0154V). Rimsky-Korsakov blends Christian and pagan elements, Ukrainian folk songs and carols, and atmospheric orchestral interludes in this vivacious and fantastical village romance.

A veteran Bach specialist continues his Bach odyssey on Brilliant Classics with a new recording of the English Suites. Previous volumes in this series have met with wide critical acclaim. Of the French Suites, Jed Distler wrote in Classics Today: 'a splendid new recording... these lovely performances memorably showcase Rubsam's sensitive and poetic side.' While Rubsam has been playing and recording Bach's music for over half a century, he brings a fresh perspective, both to the works themselves and his approach to them, by performing on a lute-harpsichord, known in German as a lautenwerk. Of the complete Well-Tempered Clavier, the Gramophone reviewer remarked: 'Like his other Bach recordings using the Lautenwerk, including the French Suites, the so-called Lute Suites and beautiful arrangements of the Cello Suites and Violin Sonatas and Partitas, these are revelatory... one thing's for certain: you'll never listen to any of Bach's music in the same way again.' Bach himself owned a pair of Lautenwerk, and so Rubsam is returning this music to the scale on which it was conceived: more intimate than nearly all the competition on record, perfectly suited to close studio recording and domestic listening. The Suites themselves are hardly English in character (Bach probably wrote them for an English patron) but rather French, more developed in scale and expression than the earlier French Suites, especially in the Third and Sixth of the set. Movements such as the Overture to No.2 and the Sarabande of No.3 have inspired some of the greatest keyboard musicians - on various instruments - to sound the depths of their artistry. Wolfgang Rubsam does so here, yet with a humility that draws the ear back to Bach himself, to the wondrous intricacy of his polyphony, and his particular genius for embodying the character of a dance through the natural shape of his melodies. - The complete 6 English Suites by Johann Sebastian Bach (1685-1750), played on the lute-harpsichord by Wolfgang Rubsam. - There is little "English" about these suites. Their name might have been given as a tribute to Charles Diepart, whose 6 English Suites were very popular at the time. Bach's English Suites follow the traditional sequence of dance movements of the Suite. The writing is mature and technically demanding. The English Suites, along with the French Suites and Partitas, are part of the standard keyboard repertoire. - Wolfgang Rubsam is internationally known as an authoritative Bach interpreter, from recordings of the organ and harpsichord on several different labels. This new recording is played on a lute-harpsichord, an instrument that Bach would have had at home for both music-making in the family and for teaching. The touch required and the sonority produced is delicate, subtly shaded and closely related in it's effect to the music of Bach's French contemporaries, whose music he knew well, such as Francois Couperin, Jean-Philippe Rameau and Louis Marchand. The sound is warmer, as it has gut strings and no dampers.

Leopold Stokowski's eminence as one of the truly great conductors of the 20th century in a career spanning six decades is exemplified in this second 6-CD set featuring live BBC performances of many of the works he performed in concert during his final years. While the best-selling Volume 1 contained titles that had previously been issued, the present Volume includes eight new BBC broadcasts not officially released before, as well as 3 CDs from the BBC Legends series but here newly remastered by Paul Baily to reflect how Stokowski wanted his recordings to sound.

For his 80th birthday, Ton Koopman has chosen some of his favourite tracks from the many recordings he has made for Challenge Classics / Antoine Marchand since 2002. This is a celebratory collection in four parts: music for organ, for harpsichord, chamber music and recordings with the Amsterdam Baroque Orchestra & Choir. Ton Koopman: "It was, of course, an almost impossible task to draw up a selection from all of the CDs I have recorded for Challenge Records, but I have tried to choose works that are very close to my heart."

In celebration of their 25th year together as one of the most adventurous and influential percussion ensembles in contemporary music, So Percussion announces the release of 25x 25. In keeping with the group's forward-looking mission, this 8-disc box set is not a retrospective; more characteristically, it's a stand-alone listening experience, featuring more than 8 hours of entirely new and previously unreleased recordings, with each piece written for, in collaboration with, and premiered by So Percussion. Over the last 25 years, the members of So - Jason Treuting, Adam Sliwinski, Josh Quillen, and Eric Cha-Beach - have been hailed for their gripping performances and wildly creative collaborations. Cantaloupe Music (the label launched by the Bang on a Can collective, which released So's first-ever album in 2004), is pleased to offer this collection to longtime fans and newcomers alike. It's both a comprehensive portrait, and a forecasting of where contemporary chamber music is heading.

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.

Klara Wurtz Celebration

Le Secret, Music for Cello & Harp

Baroque giants La Serenissima return with VIVALDI 8 - VOLUME 2, following their previous instalment in February 2025 of Vivaldi 8 Volume 1. Recognised for 'whipping up a storm with Vivaldi', La Serenissima is 'one of Britain's best-loved chamber orchestras' (The Telegraph) known for their outstanding performances, championing a host of neglected Italian baroque composers. Uniquely, the group's entire repertoire is edited from source material by founder and violinist, Adrian Chandler OSI. Praise for Vivaldi recordings by La Serenissima: 5 stars "After being obsessed by the composer and his music world for more than 30 years, Chandler by now is Vivaldi incarnate" - The Times

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.

Klaus Mertens had long been wanting to record the ‘Geistliche Lieder’ by Johann Sebastian Bach from Schemelli’s Musicalisches Gesangbuch (1736). Ton Koopman had been looking for the right program to showcase the beautiful Teschemacher chamber organ in Oosterland and realised it would actually be an ideal match with the program his friend Klaus Mertens had in mind. So in early 2023 Mertens and Koopman spent some (rather cold but) inspired days in Oosterland to record this selection of 24 songs, interspersed with six organ works.

At the Festival Hall, on 24 April, 1960, an 80-year-old Sir Thomas Beecham gave what would turn out to be the final concert he conducted with the Royal Philharmonic Orchestra in London. SOMM Recordings is releasing the last work on that historic programme as part of it's continuing Beecham Collection of live recordings-the Bacchanale from the opera Samson et Dalila by Camille Saint-Saens. Unbeknownst to them, the audience's tumultuous reception of this performance proved to be a farewell to Beecham on the London concert platform. In June 1960, he suffered a cerebral thrombosis and never conducted again; he died on 8 March 1961. Jon Tolansky, a former musician at the Royal Opera House who has since specialised in making documentary features on composers and performers, recalls hearing this programme as an 11-year-old. "I had never heard anything remotely like it," he says, "as Sir Thomas, now standing fully upright on the podium, became a generator of electric lightning and as the Royal Festival Hall seemed to be shaking, most especially in the last two minutes or so, in a catastrophic earthquake." This historic release also includes live recordings of Saint-Saens's First Cello Concerto and Nikolai Rimsky-Korsakov's Scheherazade. Once again, audio restoration is by the renowned audio recording engineer Lani Spahr, whose work has recently been honoured with four Gramophone Magazine Editor's Choice Awards-for Bruckner from the Archives Vols I and IV and, more recently, Bliss, the Composer Conducts and E.J. Moeran's music conducted by Sir Adrian Boult. Beecham was always what The Times called "a quietly persistent advocate for Saint-Saens," and he offers attentive support to the 1958 reading of Saint-Saens's First Cello Concerto by Ukrainian-born soloist Mischel Cherniavsky. The concerto is in one continuous movement with three tightly structured sections sharing interrelated ideas. Cherniavsky came from a family of nine musically gifted children, and he played in the Cherniavsky Trio with two of his brothers from 1901 until 1934, after which he was mostly based in London and France. The live performance of Rimsky-Korsakov's Scheherazade on this release was given at the Royal Festival Hall on 21 March, 1957. This fell right in the middle of recording sessions when the orchestra was immersed in the piece for three days, which goes some way to explaining the glorious quality of the playing in the concert. What Rimsky-Korsakov described as the "various fairy-tale wonders" he had in mind when composing the work come across in Beecham's live performance with a freshness and brilliance that make for an unforgettable experience. A 24-year-old Steven Staryk became leader of the RPO shortly before these recordings, earning the title "king of concertmasters" from The Strad magazine. About his performance on this concert The Times wrote "the solo playing of the new leader, Mr Steven Staryk, must have due acknowledgment."

Antonio Soler enjoyed high prestige at Spain's royal palace, the Escorial, where his contributions to keyboard technique, harmonic innovation and his Spanish musical identity served to bridge the stylistic gap between the late Baroque and early Classicism. Soler's innovations have often been overlooked but the intricate modulations and rhythmic vitality found in his sonatas offer compelling evidence of their importance. Sonatas Nos. 99-111 offer a wealth of entrancing features, which include sophisticated ornamentation, a synthesis of contrapuntal and Iberian folkloric traditions, and humorous cadences.

The third installment of Rendez-vous with Martha Argerich brings together captivating recordings from the international Festival Martha Argerich in Hamburg, showcasing an extraordinary lineup of soloists. Among the highlights are several first collaborations on record, notably between Martha Argerich, Anne-Sophie Mutter and Mischa Maisky, but also between Martha Argerich and Maria-João Pires. Many other prestigious guests include Renaud Capucon, Nelson Goerner, Gidon Kremer, Tedi Papavrami, Akiko Suwanai and Michael Volle. Particularly note-worthy is the deeply emotional interpretation of Brahms' second viola sonata, marking the poignant final public performance by the dearly missed pianist Nicholas Angelich, with violist Gerard Causse. All in all, this boxset stands as a jubilant tribute to the unparalleled artistry of Martha Argerich and to the incredible array of musical friendships she has develo-ped through the years.

Rheinberger's chamber music work bears witness to his deep roots in the classical tradition, particularly in composers such as Mendelssohn and Brahms. His compositions are characterised by clear formal structures, melodic elegance and harmonic richness.

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.

Baroque giants La Serenissima return with their new recording of Vivaldi's Four Seasons, among other concerti for ensemble by Antonio Vivaldi. Recognized for 'whipping up a storm with Vivaldi,' La Serenissima is 'one of Britain's best-loved chamber orchestras' (The Telegraph) known for championing a host of neglected Italian baroque composers and its outstanding performances. Uniquely, the group's entire repertoire is edited from source material by founder and violinist Adrian Chandler. Praise for Vivaldi recordings by La Serenissima on Signum Classics: "After being obsessed by the composer and his music world for more than 30 years, Chandler by now is Vivaldi incarnate" - The Times

One of the most sought-after young chamber ensembles of it's type, Trio Gaspard is praised for it's unique and fresh approach to the score, one recent recording prompting The Times to conclude: "Kaleidoscopic textures and sprightly wit, wonderfully conveyed by Trio Gaspard... delightful listening." It was founded in 2010, it's members hailing from Germany, Greece, and the UK. They studied at the European Chamber Music Academy in Vienna. Haydn's music has been of central importance to their programming over the past fifteen years, and it is rare for them to perform a concert without one of his works. Trio Gaspard writes: "Over this series of recordings, we present Haydn's rich output for piano trio neither chronologically nor in the groups in which the works were first published. Instead, just like the preceding discs, Volume 5 is conceived as a programme of contrasting trios that can be heard in a single sitting. We also continue the series of contemporary works which we have commissioned to accompany our Haydn project and are delighted to present the world première recording of Helena Winkelman's Threesome in a High-den."