Carolina Eyck is one of the most talented theremin players in the world and, at the same time, a YouTube phenomenon. At the age of 7, Carolina learned to play the only instrument in the world that is played without touching it and has built up quite a reputation in the scene. She presents interpretations of well-known classics and original compositions from classical to pop music on this very unusual instrument and composes an exciting mix of ambient, electronica and neo-classical music.

Composer Christian Jost has been commissioned by festivals, opera houses, and leading orchestras the world over. Among these are the Berlin Philharmonic, Zurich Opera, and the Jerusalem Chamber Music Festival. His performances are well-received worldwide. A prizewinning composer, Jost won the Ernst von Siemens Foundation Encouragement Prize in 2003, and his opera Hamlet was praised as “World Premiere of the Year” in 2009. The concept behind the compositions on this album is Berlin at night. “I am permanently on the search for the magic moment and can only achieve this through a complex and differentiated ratio between structure, form and tone.” (Christian Jost)

How does cultural diversity sound in the 21st century? The German composer Helge Burggrabe asked himself this question and with HUMAN he gave his personal musical answer. Together with the Deutsches Kammerorchester Berlin, the British conductor Duncan Ward, Elbtonal Percussion and the Canadian pianist John Kameel Farah, the orchestral composition HUMAN was recorded in summer 2020. The work focuses on social themes and areas of tension such as life & death, home & foreign countries and love & loss, inspired by the idea of "human rights" and the commitment to more freedom, justice and peace in the world.

Hybrid' is a word that has always been vital to Ceeys' vocabulary, but it's application is not limited to the manner in which cellist Sebastian Selke and his brother, pianist Daniel Selke, combine their two instruments so harmoniously. Instead, like the duo's very name - which merges the words 'violoncelle' and 'keys' - it is reflective of their overall aesthetic, one in which they integrate the many ingredients that have helped shape them as both musicians and people. Ceeys' idiosyncratic style is characterized by a rather reduced approach to composition and improvisation. In exploiting their knowledge of songwriting, textures and repetitive patterns, they create an experimental but accessible minimalism between avant-garde and pop that incorporates elements of jazz, ambient and classical chamber music. A product as much of the music with which they grew up as of that which now surrounds them, and as much indebted to their childhood environment as to that in which they now live, Concrete Fields is the first part of a planned trilogy and - certainly not by accident - it was released in the very year that marked the 100th anniversary of the Russian Revolution of 1917. Through this conscious process of coming to terms with the prefab estate in which they were raised - Europe's largest, located in the district of Marzahn-Hellersdorf - the brothers create music that at times feels familiar, but which remains refreshingly, invigoratingly unique, thereby mirroring the myriad sounds to which they have been exposed throughout their lives. Currently, Ceeys is presenting their third album W�NDE at the Berlin label Neue Meister. Here, they focus on the remembrance of 1989, a year which brought many changes.

With "Lass irre Hunde heulen", German singer/songwriter Gisbert zu Knyphausen and pianist Kai Schumacher have dedicated an entire album to one of the greatest composers of the 19th century, Franz Schubert. With a catalogue of over 600 works, Schubert is considered the master of the romantic art song; 10 selected tracks form the well-chosen cross-section through all his creative phases, arranged in a modern way and interpreted in an extraordinary style. A band line-up of drums, bass and guitars forms the sonic foundation, which is enriched by strings and winds and rounded off by Gisbert's smooth vocals. The two musical and biographical universes of the two "songwriters" merge without any residue, while at the same time Gisbert zu Knyphausen gives Schubert's well-known songs his very unique touch.

With "Lass irre Hunde heulen", German singer/songwriter Gisbert zu Knyphausen and pianist Kai Schumacher have dedicated an entire album to one of the greatest composers of the 19th century, Franz Schubert. With a catalogue of over 600 works, Schubert is considered the master of the romantic art song; 10 selected tracks form the well-chosen cross-section through all his creative phases, arranged in a modern way and interpreted in an extraordinary style. A band line-up of drums, bass and guitars forms the sonic foundation, which is enriched by strings and winds and rounded off by Gisbert's smooth vocals. The two musical and biographical universes of the two "songwriters" merge without any residue, while at the same time Gisbert zu Knyphausen gives Schubert's well-known songs his very unique touch.

The vibraphonist and composer, Pascal Schumacher has made a name for himself in a variety of collaborative endeavors. From quartets to symphonic orchestras, jazz tunes to classical chamber music, he has built a unique relationship with his instrument and has been relentless in assuring his position as a versatile and adventurous musician. Now he launches his first solo album, SOL via Neue Meister label. SOL captures Pascal’s newfound passion for solitude in all its magnetism. Yet, it remains true to a relationship’s main characteristic, intimacy. First imagine empty space. Darkness, then a spark, a central light. A lone figure stands revealed by in a strange ambience of purple and blue and white. In front of him, the metallic edifice of a vibraphone. The figure bows, he gazes forward. When he strikes the bars with two blue-tipped mallets in each hand, the notes chime and ring out through the darkness like signals through the cosmos. Shimmering, the volume of the notes pulsates, dilating and swelling in darkness, twinkling and dissolving. A reverie is born of the otherworldly quality of the solo vibraphone, pulsating in space, with Pascal Schumacher caught in a hollow square of light, a lonesome figure behind a bank of instruments. There is in intimacy illuminated within the profound darkness circling around the central tableau puts you into a unique, personal one-to-one interaction. This isn’t just solo music because it is performed by one person, it is solo because it insists on a direct one-to-one intimacy with the listener. Other forms of music—terrace anthems, party hip-hop, funeral dirges—are experienced as a shared group activity, but this is intimate music that directs the listener to listen personally and intently.

The mixture of analog and digital sounds is no longer a novelty in modern compositions, but few artists have anchored this musical symbiosis as broadly and deeply in their work as the pianist Ralf Schmid in his latest project PYANOOK While in acoustic pieces technology is often used at the post production level to modify or expand existing sounds, Schmid uses it from the very beginning in the composition and performance of his pieces He uses a groundbreaking innovation of modern music technology mi mu Gloves With them, he can immediately digitally manipulate the sound of what he plays on the piano by hand gestures alone This interaction of instrumental virtuosity and sensitively applied technology not only led Schmid to an album, it was also the basis of his alter ego PYANOOK is an album that doesn't disappoint lovers of jazz and classical music and appeals to the more progressive listener with the urge to discover new acoustic worlds. His 10 tracks are of immense beauty and depth.

There are not many classical musicians who recommend a Berlin electro-punk album from 1993 on their Facebook account. Or celebrate the 25th anniversary of Grunge mastermind Kurt Cobain's death with a link to his key song "Lithium". Whether Atari Teenage Riot or Nirvana, pianist Kai Schumacher moves stylistically confidently and knowledgeably in the realms of popular music. Schumacher appreciates progressive approaches, but would never have the idea of drawing rigid boundaries between pop and avant-garde. Since 2009 he has released four solo albums. These include "Transcriptions" from 2012, on which he translated grunge and indie rock songs for the piano. "RAUSCH" is now the first time the focus is on his own compositions. Schumacher does without overdubs, no electronics are used at all. Instead, he has prepared his instrument analogously, i.e. manipulated the mechanics and strings of the piano in such a way that "weird" tones are deliberately created. Even the choice of words for the tracks goes beyond the usual format. Song titles like those of the first single "BRNFCK" would be more likely to be in the realms of metal or techno. Like "RAUSCH" as album title at all deliberately allows for ambiguities. Is it about excess? Should the sober everyday world be blurred by the music? Do we find ourselves in a state of sensual exaggeration when we listen? Kai Schumacher makes the conditions dance, lets them float, plays a game with acoustic perception. All this with a "broken" piano...

“…a lot of the time I play music from other worlds …. Welcome to My World” World premiere on the NEUE MEISTER label: International classical superstar NIGEL KENNEDY releases his first album of his own compositions, entitled “My World”. The first album by Nigel Kennedy in which he features his own compositions is at the same time the most intimate view yet of his world: a colourful kaleidoscope of sounds. He has written works inspired by his mentors Yehudi Menuhin, Isaac Stern and Stéphane Grappelli, and artists like Mark O’Connor and Jarek Smietana, while composing a whole new suite to Anton Chekhov’s play “Three Sisters”. On “My World”, Kennedy shows how well string orchestra, rock band and piano go together once you forget the stereotypes. Nigel Kennedy, who turns 60 on December 28, 2016, has been true to his vision throughout his career: making music that transcends all conventions. “My World” retraces how meeting his mentors shaped his musical understanding and changed his career path. Yehudi Menuhin probably had the most important influence on Kennedy: “I feel that Yehudi Menuhin gives me a direct route back to the music of Bach. Also Menuhin paid for my education at his school so without him I would probably not be playing classical music at all.” Next to Menuhin, meeting Stéphane Grappelli was a crucial moment: “I met Stéphane for the first time when he was playing to us kids in the Yehudi Menuhin School; I surprised him by jumping on the stage and joining him in his performance, which was the catalyst for a long musical relationship with him. He loved it that a 14-year-old kid was into his music and could also play it. From my point of view, it was invaluable to meet a musician who, when playing, proved that serious music doesn’t have to be depressing.” Listening to “My World” it becomes very clear how strong jazz music has influenced Kennedy. This is to be heard in the dedications to Polish jazz guitarist Jaroslaw Smietana or Nashville based country-jazz-blues violinist and composer Mark O’Connor and also represented in the band line-up. Orphy Robinson, who has already played with Don Cherry, Wynton Marsalis, David Murray and many famous jazz musicians, plays vibes and percussion alongside Adam Czerwinski on drums. Tomasz Kupiec on bass has to lay the groundwork for three guitarists: long-time touring guitarist Rolf Bussalb, young Julian Buschberger and Doug Boyle, who used to play with Robert Plant and is now assistant producer of Nigel’s album. Considering this line-up, “My World” sounds surprisingly calm and classical. The Oxford Philharmonic Orchestra has a permanent role throughout, while the band only plays some of the time. Overall Nigel demonstrates what a great soloist he is: virtuosic but never plays a note too many – just like his musical idols. He has written an album full of great melodies. “Three Sisters” is clear evidence of this. The inspiration for the suite comes from Nigel’s wife Agnieszka, who has produced the play by Anton Chekhov for the stage. Fascinated by the underlying psychological study of the play, Nigel started writing his own “Three Sisters” suite.“

Narziss und Goldmund is one of Hermann Hesse's best-known novels and has now been adapted for the big screen for the first time by Stefan Ruzowitzky, director of the Oscar-winning production "Die Fälscher. The soundtrack to this extraordinary production with a star-studded German cast (including Jannis Niewöhner, Emilia Schüle, Jessica Schwarz, Uwe Ochsenknecht and many more) was composed by Henning Fuchs, who already proved his talent for sensitive compositions and arrangements with his first album "A New Beginning". The former assistant of Max Richter delivers the most exciting film music of spring 2020 for a daring and fascinating film project.

As CEEYS, brothers Sebastian and Daniel Selke have explored themes surrounding their communist, East German heritage throughout their careers. On HAUSMUSIK, their fifth album to date, the award-winning duo takes this narrative a step forward with a double album. With it, CEEYS elevate their style to a new level, eschewing the use of electronics, synthesizers and effects altogether and shaping the sound with only cello and piano. Packaged in minimalist experimental improvisations between avant-garde and pop, HAUSMUSIK combines elements of both ambient and classical chamber music.

EAT THE SUN AND DRINK THE RAIN is a work for choir and live electronics. Sven Helbig has created a concept album in which he appears both as composer and as author of almost all the song texts. Over the course of ten pieces he weaves a loose narrative that addresses pressing questions of the present day. The powerfully resonant work suspends delicate choral passages above pulsating synthesizers.  Sublime a cappella chords spread out above digitally created sounds, in perfect balance between choir and electronics. I EAT THE SUN AND DRINK THE RAIN builds upon the musical principles underlying POCKET SYMPHONIES and POCKET SYMPHONIES ELECTRONICA. Folk?influenced pieces (ABENDGLÜHEN / red sky at night) are set alongside subtle harmonic complexes in the manner of Arvo Pärt (KYRIE) and minimalistic drone music (GEDENKEN / remembrance).

As CEEYS, brothers Sebastian and Daniel Selke have explored themes surrounding their communist, East German heritage throughout their careers. On HAUSMUSIK, their fifth album to date, the award-winning duo takes this narrative a step forward with a double album. With it, CEEYS elevate their style to a new level, eschewing the use of electronics, synthesizers and effects altogether and shaping the sound with only cello and piano. Packaged in minimalist experimental improvisations between avant-garde and pop, HAUSMUSIK combines elements of both ambient and classical chamber music.

The composer Julius Eastman, born in 1940, was not one to fit in. As a homosexual African-American, he was very self-confident about his roots and his sexuality, which is evident in titles like "Evil N*****" or "Gay Guerilla". Integrity and sincere acknowledgement of one's own identity are at the core of these pieces in the style of minimal music. Kai Schumacher has now interpreted two of the most famous compositions on four pianos at the Moers Festival 2020 with the pianists Patricia Martin, Mirela Zhulali, Benedikt ter Braak. The result is a contemporary rush of sound and a tribute to the composer, whose works were minimal in form but maximal in effect.