The very first notes of this CD are enchanting: the delicate sounds that Kanahi Yamashita draws from the strings of her guitar immediately transport us to a world filled with sounds and songs that illuminate the various facets between night and dream. In the songs by John Dowland and the variations by Segei Rudnev, the darkness and depth of the night allude to death and it's eternal silence. Frank Martin's composition, Quatre pieces breves, reflects both the tranquility and the restlessness of the darkness, much like Benjamin Britten's Nocturnal after John Dowland. The journey through the night concludes with the 1953 piece Alba by Swiss composer Hans Haug, whose gentle string sounds herald the dawn - the night ends and a new day begins. Full of hope, tenderness, and melancholy, qualities so characteristic of Kanahi Yamashita's playing. Kanahi Yamashita was born in Nagasaki in 1997 and received her musical training from her parents, the renowned - and recently deceased - guitarist Kazuhito Yamashita and composer Keiko Fujiie. From a young age, she performed worldwide in a duo with her father. At the age of 13, she made her solo debut in Turin. She has lived in Berlin since 2015, where she studied at the Berlin University of the Arts with Prof. Thomas Muller-Pering and at the Nuremberg University of Music with Prof. Bjorn Colell, graduating with honors in 2026.

For his Cabinet of Delights, lutenist Eduardo Egüez has compiled a collection of French lute music centred on the composer Franz Philipp Le Sage de Richee. Virtually nothing is known about his life, except that he presumably had to flee France and subsequently found employment in Breslau. However, he occupies a central position in lute music because he brings together various styles and trends of French lute music and already foreshadows the later international style of composers such as Sylvius Leopold Weiss, Corelli, or Handel. His music survives only in his collection Cabinet der Lauten from 1695, from which Egüez performs a suite in B minor. In his preface to this collection, Le Sage de Richee states that he was a pupil of Charles Mouton and acknowledges the influence that the famous masters François Dufaut, Denis Gaultier, and Jan Antonin Losy von Losinthal had on his work. Egüez has also compiled a suite from each of these four French lute masters, thereby offering the listener a wonderful panorama of 17th-century French lute music.

With this remastered edition of Richard Wagner's Tristan und Isolde from the 1952 Bayreuth Festival, Note One label launches it's new series Note One Heritage, which makes important historical recordings in music history accessible again. The legendary performance on 23 July 1952 at the Bayreuth Festival Theatre is considered one of the most striking documents of the early post-war years and the artistic renewal of the festival in the era of the so-called New Bayreuth. At the podium is Herbert von Karajan, whose conducting steadily intensifies the dramatic tension of the score, ultimately culminating in an almost ethereal Liebestod. At the centre are two extraordinary singers: Martha Modl, one of the most dominant dramatic voices of her time, and Ramon Vinay, whose powerful, passionate Tristan ranks among the greatest interpretations of this role. Their encounter unites two contrasting temperaments in an electrifying musical dramaturgy - from eruptive passion to meditative introspection. The cast is complemented by outstanding Bayreuth forces such as Hans Hotter as Kurwenal, Ludwig Weber as King Marke and Ira Malaniuk as Brangane. The Bavarian Radio recording - long out of print and now remastered - reveals the atmosphere of a performance whose intensity and immediacy were celebrated as extraordinary even at the time. Note One Heritage's first release invites listeners to rediscover a pivotal moment in the history of opera and the festival.

Inspired by his impressive descriptions, ensemble feuervogel follows Coryat on his voyage of discovery through the alleyways, squares, and canals of the Serenissima: from the magnificent St Mark's Basilica to the noble palazzi of the Venetian aristocracy and the elegant courts where music, dance, and courtly art played a central role. The concert programme Observations of Venice brings ornate diminutions and madrigals into dialogue with dance music, ricercars, and canzonas. In this way, ensemble feuervogel receives the music of the Venetian cinquecento, which Coryat wrote was "so beautiful that I would willingly walk a hundred miles at any time to hear the like of it."

This CD box set allows us to relive that legendary Bayreuth Festival year with recordings of Tannhäuser from July 22, Die Walküre from July 25, Lohengrin from August 4, and Parsifal from August 5, 1954. For the rapidly expanding loyal audience of "New Bayreuth, " which had been establishing itself with remarkable speed since 1951, the year 1954 brought some unexpected surprises. A singer named Theo Adam, previously known only for minor roles, stepped in to replace the towering bass legends Ludwig Weber and Josef Greindl as Fasolt and King Heinrich. Meanwhile, a choir member named Franz Crass was promoted to the role of the Fourth Nobleman in Lohengrin, unaware that just five years later, he would alternate as King Heinrich alongside his already more established young colleague. Equally surprising was Greindl's debut as Gurnemanz in Bayreuth, filling in for Ludwig Weber.

The sound of a viol consort seems to float lightly; the silky, shining tones of the viols, ranging from soprano to bass, combine almost weightlessly - free from all. This consort was particularly popular in England around 1600, and no self-respecting household was without 'a chest of viols' (a box containing a set of different viols). The most important English composers wrote wonderful music for this ensemble, from dance movements and fantasies to complex polyphonic compositions, bringing the repertoire for viol consort to a peak. The 'chest of viols' of the Ensemble Private Musicke has compiled 'highlights' of English viola da gamba music by composers such as Holborne, Dowland, Ferrabosco II, Tye and Coperario, taking the listener on a journey through the air.

Franziska Fleischanderl calls her new CD solo un salterio - just a salterio. This title is not just an understatement, because Franziska Fleischanderl is quite simply THE salterio specialist worldwide. She has devoted herself entirely to her instrument, written a doctoral thesis on the salterio, discovered many works for the instrument in archives, and researched historical playing techniques. The title also refers to the instrumentation: while the salterio is known today only as an accompanying or continuo instrument, Franziska Fleischanderl shows that the instrument was widely used and played in aristocratic and clerical circles in the 17th century. Here, for the first time, she presents an entire CD programme of works for solo salterio, allowing her instrument to shine in many colours. She plucks it with her fingers, with special plectrums, and strikes it with various small hammers - a compendium of playing techniques that she has brought back to life through her research. For the listener, this creates a sensual, multi-coloured world of sound with enchanting melodies full of lightness.

Transience is one of the major themes of the Baroque period, and Gabriel Garrido has put together an entire programme for this production featuring works from Baroque Rome whose lyrics deal with the transience of the world. The texts are sombre and brimming with charged symbolism of death - in stark contrast, the music of Giacomo Carrismi, the brothers Vigilio and Domenico Mazzocchi, Marco Marazzoli, and Kaspar Förster is cheerful and magnificent. The grand seigneur of Baroque music, Gabriel Garrido, works with a large ensemble of young musicians and singers on this recording, which was brought together for the first Rencontre Baroque de Montfrin festival. The result is a wonderful example of Baroque splendour in 17th-century Rome, which sweetens the transience of life for the listener with the most beautiful colours and Baroque soundscapes.

This CD recording with flutist Anne Pustlauk is an experiment: For about 15 years, she has been researching flute performance practices in the early and late 19th centuries, which differ greatly from our performance practices today. It is not only the historical instruments that make the difference; the playing style of that time is also extremely rare today. Together with L'arpa festante under Korneel Bernolet, Anne Pustlauk searches for new forms of expression without copying a specific playing style of that time. The artists demonstrate this impressively with the famous Flute Concerto, Op. 283, by Carl Reinicke and Peter Benoit's Symphonic Poem, Op. 43A, from 1865. The program also includes Ferdinand Langer's Flute Concerto in G minor, which he composed for his friend and colleague at the Mannheim Court Theater, Franz Neuhofer (a student of the famous flute maker Theobald Boehm), who held the position of principal flutist in the orchestra there.