No wonder the stellar team of pianists Eric Zuber and Boris Slutsky found Rachmaninoff's works for two pianos irresistible. The two had a shared history: Mr. Slutsky was Mr. Zuber's piano teacher beginning when the latter was a mere 11. Here, instructor and student have now become equal partners with a shared aesthetic. "Like many pianists (and listeners), I've always felt deeply connected to Rachmaninoff's music," says Eric Zuber. "Precisely identifying what makes it resonate so profoundly with so many people is challenging, but for me, it's his sincerity of expression, emotional honesty, and exceptional craftsmanship in writing for the piano. Through his distinctive musical language, Rachmaninoff captures the complexities of human emotion-our joys, loves, and sorrows-in ways words alone cannot fully express.

With Peace Orchestra, saxophonist Yuri Honing presents a new musical chapter where boundaries blur and sounds connect. This unique ensemble brings together a rich palette of influences, rooted in the spiritual jazz of the 1960s and '70s, yet infused with modern electronics and an open, contemporary sound. Inspired by legends such as Pharoah Sanders (The Creator Has a Masterplan), Charles Lloyd, and Sun Ra, the album is a tribute to musical freedom. The Peace Orchestra defies stylistic labels - it is a breathing, evolving entity where tradition, innovation, and improvisation continuously embrace each other. Together, Yuri Honing - tenor saxophone, Remy van Kesteren - harp & electronics, Ella Zirina - guitar, Tony Overwater - double bass & bass guitar, and Yoran Vroom - drums, create a sonic universe that feels contemplative, powerful, and wide open. Live recordings such as For a Script, Ka�n & Abel, and a surprising reinterpretation of Imagine showcase their dynamic energy and collective freedom.

She's the Poem is a series of ten poetic portraits varying from someone you could run into on the streets to an icon like Frida Kahlo. It's an ode to realness: the beautiful and the ugly, raw and unpolished. With this album, Sara Bax shows she is a composer and musician, but mostly feels like an artist through music. She wants to take you to the centre of being, she wants to make you feel the sparkles of magic that flow right there. If you put your head under water, your thoughts go still. Just like when you listen to this band. Bax utilises the power of every band member so, that the group together sounds like a single strong organ that paints the air with a rich color palette.

The Romantic Room is an expansive six-volume set exploring the rich and often overlooked chamber music of Louis Spohr, brought vividly to life by the Wdr Sinfonieorchester Chamber Players. Once hailed as the "German Paganini" and revered across Europe, Spohr was a pivotal figure of early Romanticism - an innovator who shaped the transition from Classical refinement to Romantic expression. This collection showcases his elegant string quintets and sextets, daring double quartets, and characterful potpourri, offering a portrait of a composer whose expressive range and artistic integrity remain strikingly relevant today. Spohr's chamber works are richly crafted and musically intricate, offering both technical challenges and expressive depth. These performances reveal a composer deeply rooted in tradition yet unafraid to experiment, blending lyrical intimacy with bold structural ideas. Following the highly acclaimed Brahms: String Sextets (Diapason d'Or) and String Quintets, the The Romantic Room: Chamber Works by Spohr box set is the Wdr Sinfonieorchester Chamber Players' third release on PENTATONE. The WDR Symphony Orchestra has also released an extensive discography with the label.

France was on the brink of revolution and Haydn was at the height of his international fame. These flamboyant quartets were written especially for the lucrative Parisian market, where quatuor brillant was becoming increasingly popular. The style is dazzlingly virtuosic and Stefan Arzberger shines with Haydn's most brilliant, high-flying, concerto-like passages, leading this remarkable ensemble's captivating interpretation with admirable aplomb.

Nelson Goerner has always dreamed of recording these two masterpieces of the concerto repertoire. With Kazuki Yamada, he has found the ideal partner to approach Ravel's two piano concertos with the sensitivity and poetry for which he is universally renowned. The two works, composed at the same time and both performed for the first time in 1932, are nevertheless very different: premiered in Vienna, the Concerto for the Left Hand was commissioned by the pianist Paul Wittgenstein who had lost his right arm in 1914; premiered in Paris, the Concerto in G is renowned for it's verve and it's famous pianistic interpolations. Ravel had composed the Pavane pour une infante defunte, a famous miniature of exquisite nostalgia, some 33 years earlier. The programme is completed by the Valses nobles et sentimentales; Marguerite Long, who gave the first performance of the Concerto in G, saw these eight linked pieces as a "stylistic panorama of the waltz".

... 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) The timeless brilliance of jazz with the remastered edition of Johnny Dyani's Witchdoctor's Son, originally recorded in 1978 brings together musicians from South Africa, Denmark, and Brazil, blending their unique styles with the rich heritage of American jazz. The presence of John Tchicai, a stalwart of the New York jazz scene, adds depth to this remarkable record. The music is deeply rooted in South African traditions, with themes composed by Johnny Dyani and Dudu Pukwana, and traditional tunes arranged by them. The spirit of Africa, especially the Xhosa world, is a constant presence throughout the album.

A bundled release will have some risks and side effects compared to successive releases of a series of works. Here one can proceed cautiously from album to album, preparing oneself for what is to come and comparing the new material with alternative recordings. In contrast, the 'complete package' demands exclusive listening, which may result in astonishing discoveries and entirely new insights - as Lena Neudauer and Paul Rivinius demonstrate here with their Beethoven violin sonatas. How much Schubert and Schumann are not hidden in these works? Where does the "Rage over a lost penny" come into play? Is swing really a child of the 20th century? Why does a precise, light accent balance out every rough one? After more than four hours of music, the duo has painted a conclusive portrait. Those who wish may make comparisons

Michael Schoch is equally at home on both the piano and organ - the best prerequisite for this recording of Reger's piano transcriptions of Bach's organ works! Lucid transparency characterises the performance of the celebrated ARD prizewinner, fed by a deep familiarity with both worlds, which Reger would also have appreciated.

The Schumann Quartet and pianist Hinrich Alpers dedicate their upcoming album to three composers and the repertoire of the first half of the 20th century?. The album brings together three composers who could not be more different and who have different life stories - and yet have musical similarities?. It includes the following works: Frank Martin - Piano Quintet; Viktor Ullmann - String Quartet No. 3 (composed in Theresienstadt); Gabriel Faure - Piano Quintet No. 1.

In 1915, during World War I, a fire threatened the very existence of the ill-fated Tilda, sending it's score and orchestral parts up in flames, leaving to posterity only the reduction for voice and piano and an orchestral copy of the Ave Maria. Late in life, Cilea expresses a positive opinion of his youthful effort: "except for a few amends of the libretto, the score is organic, rich in melodies and written with a great sense of the theater"; he even plans to revise it but he never concludes his intent. Thanks to the challenging work of Giancosimo Russo, who reconstructed the orchestration from top to bottom, according to musicological assumptions that took into account the author's style, verismo instances and the orchestral habits of the time, it is now once again possible to enjoy a small jewel of the glorious Italian operatic tradition.

Francesco Piemontesi, conductor Manfred Honeck, and the Gewandhausorchester Leipzig come together in a new recording of Brahms' Piano Concerto No. 2. This concerto transcends the traditional form, blending symphonic grandeur with virtuosic brilliance and moments of intimate chamber-like dialogue between piano and orchestra. Piemontesi's sensitive playing and Honeck's precise, passionate leadership create a richly detailed and moving interpretation of one of Brahms's greatest masterpieces. Alongside the concerto are Brahms' Three Intermezzi, Op. 117 - quiet, reflective pieces that offer a window into the composer's most personal thoughts. Francesco Piemontesi, one of today's most-cherished pianists, presents the fifth release in his exclusive collaboration with PENTATONE, following the widely praised Schubert - Last Piano Sonatas (2019), Bach Nostalghia (2021), Schoenberg, Messiaen & Ravel (2022), and Liszt Transcendental Etudes & Piano Sonata (2023).

MINIMAL marks the Percussions de Strasbourg's first foray into the world of minimalist music. Faithful to their legendary history, yet open to other sonic horizons, the ensemble asserts a plural identity, nourished by a sensitive dialogue between heritage, aesthetic diversity, and creative freedom. This recording, centered on Steve Reich's famous Mallet Quartet, brings together works such as Avant, pendant, et pourtant by Camille Pepin, where formal rigor and emotion intertwine, and Sunday by Shelley Washington, imbued with a gentle melancholy. Nik Bartsch adds his rhythmic textures and "ritual groove". Conceived by Minh-T�m Nguyen and shaped by the inspired ear of Vincent Peirani, MINIMAL reflects an openness to jazz, pop, and classical influences. It marks a turning point: a record conceived before the stage, envisioned as a living manifesto of contemporary creation.

Petr Ostrouchov's music from the film zelary (2003) is being released for the first time as a purely musical soundtrack without dialogues, in a newly mixed and arranged version. The film, directed by Ondrej Trojan, won two Czech Lions (Czech and Television Academy Award) and a number of nominations, including the most prestigious one - an Oscar nomination for the best foreign language film. Although almost 22 years have passed since it's release and the composer had been considering the idea of ?releasing the score on vinyl for some time, the final impetus for the album's release was this year's departure of the legendary film conductor Mario Klemens, who had participated in number of film soundtracks and who also conducted the orchestra during the recording of the music for the film zelary; the album is dedicated to his memory. Petr Ostrouchov received his first (out of eight) nomination for the Czech Lion award and the award for best music from the festival in Karachi, Pakistan. "zelary was only the second feature film with my music and a very important one for me. As a beginner and amateur, I composed and arranged music for the orchestra and had the opportunity to work with conductor Mario Klemens. Moreover, the film resonated very well, it received an Oscar nomination, I received my first nomination for the Czech Lion Award and Viera Langerova brought me the award for best music from the festival in Karachi, Pakistan, where I "beat" Alexandre Desplat and John Williams in my category, both these facts seemed absurd to me. The soundtrack was released on CD 22 years ago, the music was interwoven with dialogues from the film, as was usual back then, and the CD has long since been unavailable. The idea of ?releasing the music from zelary in newly mixed versions and in a different way has matured for many years, the film has certainly not been forgotten, on the contrary, it still has it's audiences and the "music from zelary" has opened many doors for me. I compiled the recordings into a more or less fluid flow of music, without dialogues, with only a few folk songs of great female ensemble from the Beskid Mountains called Grunik," says Petr Ostrouchov about the album's release.

In addition to his reputation as a dancer, the Sun King was also a musician. Under the enlightened influence of his mother, Anne of Austria, the young Louis XIV learned to play the lute and then the guitar. Once relegated to commoners, this instrument became a symbol of royal refinement. Beyond simple entertainment, this musical craze served a political purpose: to seduce the court and the people, and to weave harmony between French, Italian and Spanish cultures. Like a new King David, monarch-musician par excellence, Louis XIV crafted the image of an Apollonian sovereign, master of the arts as much as of power. Together with exceptional musicians, Lea Masson reveals this forgotten facet of the guitarist king!