{"title":"One-Day Sale","description":"\u003cp style=\"text-align: center;\"\u003e\u003cspan\u003eOur \u003cstrong\u003eOne-Day Sale\u003c\/strong\u003e is back and better than ever — \u003cstrong\u003eover 400 hand-picked titles\u003c\/strong\u003e are \u003cstrong\u003e50% OFF\u003c\/strong\u003e now at \u003cem\u003eArkivMusic!\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: center;\"\u003e\u003cspan\u003eShop from iconic labels such as \u003cstrong\u003ePENTATONE\u003c\/strong\u003e, \u003cstrong\u003eBrilliant Classics\u003c\/strong\u003e, \u003cstrong\u003eBIS\u003c\/strong\u003e, \u003cstrong\u003eC Major Entertainment \u003c\/strong\u003eand more!\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003cem\u003eWhile supplies last — no backorders at these prices!\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: center;\"\u003e\u003cspan\u003eShop the sale before it ends at\u003cstrong\u003e 9:00am ET, Thursday, July 30th, 2026\u003c\/strong\u003e. \u003c\/span\u003e\u003c\/p\u003e","products":[{"product_id":"book-of-chorale-settings-for-j-4","title":"BOOK OF CHORALE-SETTINGS FOR J","description":"Classical Music","brand":"Haenssler Classic","offers":[{"title":"CD","offer_id":44826870055146,"sku":"040888208426","price":5.49,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/433379.jpg?v=1778341733"},{"product_id":"shostakovich-symphony-no-8-bavarian-radio-symphony","title":"Shostakovich: Symphony No. 8 \/ Haitink, Bavarian Radio Symphony Orchestra","description":"\u003cp\u003eThe Dutch conductor Bernard Haitink and the Bavarian Radio Symphony Orchestra enjoyed a long and intensive artistic collaboration, which was brought to an abrupt end by his death in October 2021. BR-KLASSIK is now presenting outstanding live recordings of concerts from the past years that have not yet been released. This recording of Shostakovich's Eighth Symphony documents a concert given in September 2006 at Munich’s Philharmonie im Gasteig.\u003c\/p\u003e\n\n\u003cp\u003eFor Shostakovich's contemporaries, educated in the spirit of Socialist Realism, it was clear that the Eighth Symphony had to have a programme and, even more specifically, a topical reference to current events. And at the time, there could hardly have been anything more topical than the recent, decisive turning point in the war in the form of the battle for Stalingrad. It is therefore hardly surprising that the Eighth Symphony, composed in less than nine weeks between July 2 and September 9, 1943, was also referred to as the \"Stalingrad\". Under the pressure of circumstance, Shostakovich was obliged to develop an aesthetic of ambiguity, secret hidden meanings and abysmal irony that was almost without parallel in cultural history. This work also expresses the sheer compulsion under which a musical language in conformity with the system had to be created.\u003c\/p\u003e\n\n\u003cp\u003eHaitink first conducted a Munich subscription concert in 1958, and from then on was a regular guest with the Bavarian Radio Symphony Orchestra – either at the Herkulessaal of the Residenz or at the Philharmonie im Gasteig. This congenial collaboration lasted more than six decades. The orchestral musicians and singers enjoyed working with him just as much as the BR sound engineers. As an interpreter of the symphonic repertoire, and especially that of the German-Austrian Late Romantic period, Haitink was held in high esteem throughout the world. With him, Dmitri Shostakovich's symphonies were also always in the best of hands. Haitink’s driving principle was to make the sound architecture of a musical composition, with its complex interweaving, transparently audible; extreme sensitivity of sound was combined with a clearly structured interpretation of the score.\u003c\/p\u003e","brand":"BR Klassik","offers":[{"title":"CD","offer_id":46012432220394,"sku":"4035719002140","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4412811-3337345.jpg?v=1778196518"},{"product_id":"beethoven-violin-concerto-romances-635212070420","title":"Beethoven: Violin Concerto; Romances \/ Siem, Caetani, Philharmonia Orchestra","description":"\u003cp\u003eOn his second album with Signum Records, internationally acclaimed violinist Charlie Siem is joined by the Philharmonia Orchestra, conducted by Oleg Caetani to perform works by Beethoven.\u003c\/p\u003e\n\u003cp\u003eCharlie Siem is one of today’s foremost young violinists, with such a wide-ranging diversity of cross-cultural appeal as to have played a large part in defining what it means to be a true artist of the 21st century. Siem has appeared with many of the world’s finest orchestras and chamber ensembles, including: the Bergen Philharmonic, the Camerata Salzburg, the Czech National Symphony, the Israel Philharmonic, the London Symphony, the Moscow Philharmonic, the Oslo Philharmonic, the Rotterdam Philharmonic and the Royal Philharmonic Orchestra.\u003c\/p\u003e\n\u003cp\u003eThe Philharmonia is a world-class symphony orchestra for the 21st century, based in London at Southbank Centre’s Royal Festival Hall, resident in cities and at festivals across England, and streaming online.\u003c\/p\u003e","brand":"Signum Classics","offers":[{"title":"CD","offer_id":46012433137898,"sku":"635212070420","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4118533-2862231.jpg?v=1778241316"},{"product_id":"davis-air","title":"Davis: Air \/ Bateman, Royal Philharmonic Orchestra","description":"Oliver Davis's seventh album Air with Signum brings together a stellar array of performers, including violinists Benjamin Baker and Kerenza Peacock, soprano Grace Davidson and tenor Jeremy Budd, alongside German ensemble the Hanke Brothers and the Royal Philharmonic Orchestra under Paul Bateman. Oliver Davis graduated from the Royal Academy of Music in 1994 and has since composed numerous concertos, ballet scores, albums, soundtracks and television scores working with many of the major London orchestras. Davis’ debut album Flight, recorded by the London Symphony Orchestra with soloist Kerenza Peacock, was released in March 2015 and quickly rose to number 2 in the UK Specialist Classical Charts with 5 star reviews in both the UK and US. In addition it was chosen as Featured Album of the Week on Classic FM and was broadcast daily on the station. Several pieces from the album Flight have been used for a ballet choreographed by Ma Cong for the Tulsa Ballet Company in Tulsa, Oklahoma.","brand":"Signum Classics","offers":[{"title":"CD","offer_id":46012437463274,"sku":"635212070925","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4080157-2816796.jpg?v=1778241346"},{"product_id":"schubert-the-fair-maid-of-the-mill","title":"Schubert: The Fair Maid of the Mill \/ Glynn, Spence","description":"\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eChristopher Glynn continues his series of Schubert in English releases with a new recording of ‘The Fair Maid of the Mill’ (\u003cem\u003eDie schöne Müllerin\u003c\/em\u003e) with acclaimed Scottish tenor Nicky Spence. Set to a new translation by writer and director Jeremy Sams, Willhelm Müller’s direct and emotionally-charged poetry became the basis of Schubert’s first cycle to tell a complete story over the course of its 20 songs. Nicky Spence is one of Scotland’s proudest sons and his unique skills as a singing actor and the rare honesty of his musicianship have earned him a place at the top of the classical music profession. Nicky won a record contract with Decca records while still studying at the Guildhall School of Music and Drama and then took a place as an inaugural Harewood Artist at the ENO. Christopher Glynn is a Grammy award-winning pianist, praised for his ‘breathtaking sensitivity’ (Gramophone), ‘irrepressible energy, wit and finesse’ (The Guardian) and ‘perfect fusion of voice and piano’ (BBC Music Magazine). He is also Artistic Director of the Ryedale Festival, where he has been praised as a ‘visionary’ and ‘inspired programmer’ (The Times).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eREVIEWS\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\"\u003c\/span\u003e\u003cem\u003eThe Fair Maid of the Mill\u003c\/em\u003e [is] extraordinary: For the first time, as a native English speaker, I found myself understanding this song cycle on a more intimate and revelatory level...The meticulousness of word-for-word accuracy is traded for emotional accuracy. Playwright and director Jeremy Sams was commissioned to write this new translation, and his background in both opera and musical theater lends itself well to finding the right words to convey poetic, emotional, and dramatic honesty.\u003c\/p\u003e\n\u003cp\u003eTenor Nicky Spence’s own sense of crossover theatricality heightens the immediacy and intimacy of the cycle and Sams’s new texts with a verdant tenor that blooms and contracts in emotional fits and starts. (These beats are both offset and at times juxtaposed by pianist Christopher Glynn...) As the journeyman’s dream begins to collapse on itself...Spence spits out his pleas in a fit of jealousy and panic. The clarity with which he delivers the words makes it easy to slip into the language of Schubert’s work and tap into the small details that render the story so devastating at the end—try listening to him sing of how his love 'loves hunting green' without your throat catching a bit. It’s these small details that make this English \u003cem\u003eMüllerin\u003c\/em\u003e so rich and compulsively listenable.\u003c\/p\u003e\n\u003cp\u003e--\u003cem\u003eVan \u003c\/em\u003eMagazine (Olivia Giovetti)\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis is the third in the Signum label’s sequence of Schubert song cycles using an English version of the texts by Jeremy Sams. His is in no sense a literal translation and is never in the least archly “poetic”, but is instead couched in relatively, plain, direct English which captures the spirit and directness of the original German while jettisoning any faux-Romantic or medieval archaisms such as “fain would I”. The translation is vernacular and quotidian but not modish or vulgar – and Sams does a fine job of reproducing the rhyming, strophic form of some songs, finding workable rhymes which do not sound forced, so in “Mine” we hear “sound, round, resound” and “found”, and “shine, wine, intertwine, combine” and “mine” sequentially to reproduce the effect of the German. The freedom of the English into which some songs are rendered might initially take the listener aback but a moment’s reflection will confirm the aptness and fidelity of Sams’ rendering; hence, the opening song begins “A miller loves to sit and dream of somewhere” rather than “To wander is the miller’s delight, to wander” or some such precious transliteration – and I know which I prefer. Sometimes the translation is both felicitous and amusing, as when in “Impatience” (Ungeduld) Sams picks up on the German: “ich möcht es sän auf jedes frische Beet\/ Mit Kressensamen” (I’d like to sow it in every fresh bed with cress seeds) and translates that colloquially as “I want to sow the words in watercress” so that it rhymes with “happiness” in the next line, and in “The Hunter” the miller girl’s cabbage patch (Kohlgarten) is transformed into a “strawberry bed” so that “fruit” rhymes conveniently with “shoot”. Certain lines impress themselves immediately upon the mind of the listener by their memorability, such as the alliterative “The sound of rushing water has mesmerised my mind” in the second song.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eNicky Spence’s diction is so pellucid as to render the provision of the English texts almost superfluous but such thoughtfulness on the part of the label remains a welcome gesture. [Spence's] beautiful, flexible, easily-produced sound...never falters; his tone encompasses both sweetness and power as required and his knack of placing just the right emphasis or applying a momentary pause in the words without unduly disrupting the vocal line is apparent throughout. I particularly like the way he can introduce a desperate sighing note into his timbre without it turning mawkish. Christopher Glynn supports him with some of the most subtle and sensitive pianism I have even heard applied to this work; his playing is by turns as fluid, sparkling and turbulent as rushing water. He and Spence make an ideally matched partnership – fresh and immediate, presenting it in a manner which could easily win new adherents to this miraculous song cycle but, in Glynn’s words, is also capable of 'offering a new perspective to those who know it well.'\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e--\u003cem\u003eMusicWeb International\u003c\/em\u003e (Ralph Moore)\u003c\/p\u003e","brand":"Signum Classics","offers":[{"title":"CD","offer_id":46012439331050,"sku":"635212071120","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4085595-2820053_0859c64c-f3f7-4c34-95b7-69990ec8869f.jpg?v=1778240239"},{"product_id":"lutoslawski-penderecki-schumann-schumann-weinberg-roots-pieces-in-folk-style","title":"Roots - Pieces in Folk Style for Clarinet \u0026 Piano \/ Brill, Aner","description":"\u003cp\u003eThe starting point for the recording of the album ROOTS was a concert in which Shirley Brill performed Mieczyslaw Weinberg's Sonata for the first time and was deeply moved by its overwhelming emotional power. Being Jewish herself, she resonated deeply with the rich Klezmer folkloric elements expressed so intensely in this Sonata. This experience ignited her passion to explore the integration of national sentiments into classical music, with a particular focus on the neighbouring countries of Germany and Poland.\u003c\/p\u003e\n\u003cp\u003eIn ROOTS, Shirley Brill has curated a collection of pieces that demonstrate a masterful integration of folkloric elements, exuding pride in original folk music and a healthy sense of national identity. Yet, this aspect also belongs to the folklore within the music that is heard here: over the course of the 100 years in which the recorded works were composed, an excessive embrace of radical ideologies has slipped into dangerous nationalism.\u003c\/p\u003e\n\u003cp\u003eWeinberg's life and his Clarinet Sonata composed in 1945 serve as a poignant reminder of the catastrophic consequences of such extremism. The range of works presented on the album ROOTS sheds light on the delicate balance between the celebration of cultural heritage (as in the music of Schumann and Lutoslawski) and the intrusion of the destructive forces of nationalism (Weinberg). ROOTS testifies to the power of music to promote unity while simultaneously cautioning us to remain vigilant against the pitfalls of extremist doctrines.\u003c\/p\u003e","brand":"Haenssler Classic","offers":[{"title":"CD","offer_id":46012442181866,"sku":"881488220636","price":10.49,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4235539-3144974.jpg?v=1778227988"},{"product_id":"ullmann-der-kaiser-von-atlantis","title":"Ullmann: Der Kaiser von Atlantis \/ Eröd, Hahn, Munich Radio Orchestra","description":"\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eViktor Ullmann's one-act chamber opera \u003cem\u003eDer Kaiser von Atlantis\u003c\/em\u003e [The Emperor of Atlantis] was written in the Theresienstadt concentration camp and did not see its premiere until December 16, 1975 in Amsterdam, since the performance was banned after its dress rehearsal in 1944. The concert performance of the version by Henning Brauel and Andreas Krause (Schott), which took place on October 10, 2021 at the Prince Regent's Theatre in Munich, was recorded for this CD. Alongside the internationally renowned Austrian \u003cem\u003eKammersänger\u003c\/em\u003e Adrian Eröd in the title role, mainly young performers sang, accompanied by the Munich Radio Choir conducted by Patrick Hahn, who made his debut here as the orchestra's principal guest conductor.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eViktor Ullmann, born in 1898 in Teschen, Silesia, studied with Arnold Schönberg and Alois Hába in Vienna. He worked first as a bandmaster and then as a bookseller, and settled in Prague as a freelance artist in 1933. Because he came from a Jewish family, he was deported to the Theresienstadt camp by the Nazis in 1942. In October 1944 he was murdered in Auschwitz-Birkenau, together with composers Pavel Haas and Hans Krása, who were almost the same age. Since the Nazis allowed a lively cultural life in their \"showcase camp\" of Theresienstadt, Ullmann was also able to be musically active. The intellectual and cultural heritage of that time is reflected in his music – also, and especially, in the \"one-act play\" that he wrote there entitled “Der Kaiser von Atlantis oder Die Tod-Verweigerung\" (The Emperor of Atlantis or the Disobedience of Death), based on a libretto by his fellow prisoner Peter Kien.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cstrong\u003eREVIEWS\u003c\/strong\u003e:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eThe confident conducting of the young Austrian Patrick Hahn stands out for a fascinating transparency, as well as an accentuated lightness, which makes the voices all the more haunting. In addition to the striking baritone of Adrian Eröd as the Emperor, the bass Tareq Nazmi is very convincing in the role of the striking Death. Highly expressive and with an impeccably managed mezzo voice, Christel Loetzsch is a most impressive drummer.\u003c\/p\u003e\n\u003cp\u003eSinging very sensitively are tenor Johannes Chum as soldier Harlequin and bass Lars Woldt in the role of the speaker. The soprano Juliana Zara can also please as Bubikopf.\u003c\/p\u003e\n\u003cp\u003eAnd so this is then a gripping interpretation of Ullmann’s opera, which pleases on the one hand by the refinement of the orchestral performance and on the other hand by excellent voices.\u003c\/p\u003e\n\u003cp\u003e--\u003cem\u003ePizzicato\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eIt is remarkable how calmly Patrick Hahn, permanent guest conductor of the Munich Radio Orchestra, with his highly concentrated soloists in the Prinzregententheater, keeps a balance between existential commitment and a certain lightness, which the piece also requires.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cspan data-number-of-phrases=\"6\" data-phrase-index=\"3\" data-language-to-translate-into=\"de\" data-language-for-alternatives=\"en\" class=\"JLqJ4b ChMk0b\" jsmodel=\"SsMkhd\" jsdata=\"uqLsIf;_;$56\" jscontroller=\"Zl5N8\" jsname=\"txFAF\" jsaction=\"agoMJf:PFBcW;usxOmf:aWLT7;jhKsnd:P7O7bd,F8DmGf;Q4AGo:Gm7gYd,qAKMYb;uFUCPb:pvnm0e,pfE8Hb,PFBcW;f56efd:dJXsye;EnoYf:KNzws,ZJsZZ,JgVSJc;zdMJQc:cCQNKb,ZJsZZ,zchEXc;Ytrrj:JJDvdc;tNR8yc:GeFvjb;oFN6Ye:hij5Wb;bmeZHc:iURhpf;Oxj3Xe:qAKMYb,yaf12d\" data-mce-fragment=\"1\"\u003e\u003cspan class=\"Q4iAWc\" jsname=\"W297wb\" jsaction=\"click:qtZ4nf,GFf3ac,tMZCfe; contextmenu:Nqw7Te,QP7LD; mouseout:Nqw7Te; mouseover:qtZ4nf,c2aHje\" data-mce-fragment=\"1\"\u003eThe lively soprano Juliana Zara brings a ray of hope...\u003c\/span\u003e\u003c\/span\u003e\u003cspan data-number-of-phrases=\"6\" data-phrase-index=\"4\" data-language-to-translate-into=\"de\" data-language-for-alternatives=\"en\" class=\"JLqJ4b ChMk0b\" jsmodel=\"SsMkhd\" jsdata=\"uqLsIf;_;$57\" jscontroller=\"Zl5N8\" jsname=\"txFAF\" jsaction=\"agoMJf:PFBcW;usxOmf:aWLT7;jhKsnd:P7O7bd,F8DmGf;Q4AGo:Gm7gYd,qAKMYb;uFUCPb:pvnm0e,pfE8Hb,PFBcW;f56efd:dJXsye;EnoYf:KNzws,ZJsZZ,JgVSJc;zdMJQc:cCQNKb,ZJsZZ,zchEXc;Ytrrj:JJDvdc;tNR8yc:GeFvjb;oFN6Ye:hij5Wb;bmeZHc:iURhpf;Oxj3Xe:qAKMYb,yaf12d\" data-mce-fragment=\"1\"\u003e\u003cspan class=\"Q4iAWc\" jsname=\"W297wb\" jsaction=\"click:qtZ4nf,GFf3ac,tMZCfe; contextmenu:Nqw7Te,QP7LD; mouseout:Nqw7Te; mouseover:qtZ4nf,c2aHje\" data-mce-fragment=\"1\"\u003eChristel Loetzsch, as the drummer, gives the best impression of the theatrical potency of the piece: she announces total war in a mezzo whose timbral beauty extends to all registers of the role's enormous scope.\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cspan data-number-of-phrases=\"6\" data-phrase-index=\"4\" data-language-to-translate-into=\"de\" data-language-for-alternatives=\"en\" class=\"JLqJ4b ChMk0b\" jsmodel=\"SsMkhd\" jsdata=\"uqLsIf;_;$57\" jscontroller=\"Zl5N8\" jsname=\"txFAF\" jsaction=\"agoMJf:PFBcW;usxOmf:aWLT7;jhKsnd:P7O7bd,F8DmGf;Q4AGo:Gm7gYd,qAKMYb;uFUCPb:pvnm0e,pfE8Hb,PFBcW;f56efd:dJXsye;EnoYf:KNzws,ZJsZZ,JgVSJc;zdMJQc:cCQNKb,ZJsZZ,zchEXc;Ytrrj:JJDvdc;tNR8yc:GeFvjb;oFN6Ye:hij5Wb;bmeZHc:iURhpf;Oxj3Xe:qAKMYb,yaf12d\" data-mce-fragment=\"1\"\u003e\u003cspan class=\"Q4iAWc\" jsname=\"W297wb\" jsaction=\"click:qtZ4nf,GFf3ac,tMZCfe; contextmenu:Nqw7Te,QP7LD; mouseout:Nqw7Te; mouseover:qtZ4nf,c2aHje\" data-mce-fragment=\"1\"\u003e--Munich \u003cem\u003eEvening Times\u003c\/em\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eThis is the version of Viktor Ullmann’s opera, recorded live in October, 2021 in Munich, that features an expanded instrumental score...this [version], edited by Henning Brauel, while retaining much of the instrumental ensemble’s theatre\/cabaret aspects, has an overall more polished, softening of the edges quality, thanks to a richer, fuller string sound (helped also by the warm recording ambience).\u003c\/p\u003e\n\u003cp\u003e[The] singers here are all excellent, and the orchestra, members of the Munich Radio Orchestra, is equally, expectedly fine...the notes also include a fascinating discussion...of the many musical and cultural references in the libretto and in the music.\u003c\/p\u003e\n\u003cp\u003e--\u003cem\u003eClassicsToday.com\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-ogsb=\"white\"\u003e\u003ci\u003e\u003cspan data-ogsc=\"rgb(68, 68, 68)\"\u003e\u003cem\u003eThe Emperor of Atlantis\u003c\/em\u003e\u003c\/span\u003e\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan data-ogsc=\"rgb(68, 68, 68)\"\u003ehas achieved a well-deserved reputation as one of the strongest works to have been composed by any of the several important composers who died in the Holocaust. \u003c\/span\u003e\u003cspan data-ogsc=\"rgb(68, 68, 68)\"\u003eUllmann’s music is a heady mix of grim and playful, making allusions to hymn tunes and popular-music styles, with instrumental flourishes, propulsive rhythms, and sweet-sour harmonies that evoke, at times, such composers of his era as Hindemith, Weill, and Prokofiev but that, taken together, create a distinctive sound-world like no other. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-ogsb=\"white\"\u003e\u003cspan data-ogsc=\"rgb(68, 68, 68)\"\u003eThis latest recording was made during an unstaged (or minimally staged) performance in front of an audience, and it is wonderful[.] The cast members all have steady and healthy-sounding (young?) voices. Often, indeed, they sing with astounding beauty of tone, which helped keep my ear glued to the proceedings, whereas I have sometimes felt that I was being shouted-at in my contacts with the work (on recordings and in live performance). The all-crucial words are rendered clearly and idiomatically by all concerned. I cannot resist praising Tareq Nazmi.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-ogsb=\"white\"\u003e\u003cspan data-ogsc=\"rgb(68, 68, 68)\"\u003e-- \u003cem\u003eArtsfuse\u003c\/em\u003e (Ralph P. Locke)\u003c\/span\u003e\u003c\/p\u003e","brand":"BR Klassik","offers":[{"title":"CD","offer_id":46012444311786,"sku":"4035719003390","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4075182-2810997.jpg?v=1778240750"},{"product_id":"the-library-vol-4","title":"The Library, Vol. 4 - Standards \u0026 Hits for Classical Choir \/ The King's Singers","description":"\u003cp\u003eThis is the fourth volume in our The Library EP series. The idea behind it is to explore, maintain and grow our library of close-harmony repertoire. “Close-harmony” is arguably the part of our work for which we are best known, and our library of thousands of pop, jazz and folksong arrangements is one we’re always determined to nurture. The track-listing for each volume in the series is designed to celebrate old favorites alongside brand new arrangements created especially for these recordings, which we hope will become the ‘old favorites’ of the future. The King’s Singers were founded on 1 May 1968 by six choral scholars who had recently graduated from King’s College Cambridge. Their vocal line-up was (by chance) two countertenors, a tenor, two baritones and a bass, and the group has never wavered from this formation since.\u003c\/p\u003e","brand":"Signum Classics","offers":[{"title":"CD","offer_id":46012446474474,"sku":"635212071823","price":5.49,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4101924-2842889.jpg?v=1778250412"},{"product_id":"bruch-sibelius-works-for-two-violas","title":"Bruch, Bridge, Sibelius, Shostakovich: Works for 2 Violas \/ Hertenstein, Peijun Xu, Ahn","description":"\u003cp\u003ePeijun Xu, born in Shanghai, is one of the leading violists of her generation. As a soloist, Peijun Xu has performed in renowned venues such as the Shanghai Concert Hall, the Laeiszhalle Hamburg or the Alte Oper Frankfurt. Her chamber music partners include Paul Rivinius, Evgenia Rubinova, Alexander Sitkovetsky and Veit Hertenstein. German violist Veit Hertenstein plays with “brigthly ringing, luminous and finly finessed sound (The Strad Magazine 2022).\u003c\/p\u003e\n\u003cp\u003eVeit Hertenstein is Professor for Viola at the Musikhochschule Detmold, Germany since 2015.\u003c\/p\u003e","brand":"Haenssler Classic","offers":[{"title":"CD","offer_id":46012447523050,"sku":"881488220728","price":10.49,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4218772-3006612.jpg?v=1778264992"},{"product_id":"santtu-conducts-strauss-philharmonia-orchestra","title":"Santtu Conducts Strauss \/ Philharmonia Orchestra","description":"\u003cp\u003eSanttu conducts Strauss is a 2-volume album featuring four works by Richard Strauss conducted by Principal Conductor Santtu-Matias Rouvali, two of which are live recordings of Santtu’s 2021\/22 opening concert and first concert as Principal Conductor at Royal Festival Hall. Eine Alpensinfonie and Also sprach Zarathustra are live recordings of Santtu’s opening concert of the 2021\/22 season, and his first concert with the Philharmonia as Principal Conductor. The concerts received great reviews. Tim Ashley (The Guardian) said “With the Philharmonia on tremendous form, Rouvali proved a fine Straussian, measured in his approach, and careful in his attention to detail and colour”. Rebecca Franks (The Times) awarded 5-star reviews: “There were “wow” moments aplenty as the Philharmonia laced up its hiking boots and happily hit every waymark in Strauss’s mountain journey: the glorious sunrise, the resplendent summit, the violent storm with wind machine, thunder sheet and organ.”\u003c\/p\u003e\n\u003cp\u003eFounded in 1945, the Philharmonia Orchestra creates thrilling performances for a global audience and has premiered works by Richard Strauss, Sir Peter Maxwell Davies, Errollyn Wallen, Kaija Saariaho and many others. The Philharmonia has an extraordinary 77-year recording legacy, and has recorded around 150 soundtracks, with film credits stretching back to 1947. In the 2021\/22 season the Orchestra performs in Romania, Spain, Finland, Greece and Germany. Santtu-Matias Rouvali is a Finnish conductor and percussionist, and is currently principal conductor of the Philharmonia Orchestra. Rouvali continues his relationships with orchestras across Europe, including with the Berlin Philharmonic, New York Philharmonic, Royal Concertgebouw Orchestra, Munich Phillharmonic and the the Orchestre Philharmonique de Radio France.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eREVIEW\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"c-product-review--quote\"\u003eThis is an Alpine Symphony where the thrills are just that much more thrilling, the sublime moments more sublime, the lyrical line more lyrical. I’d place this Alpine Symphony beside the Karajan, and it comes in much better sound. I consider every performance here nothing short of a triumph, so the strongest recommendation naturally follows.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"c-product-review--quote\"\u003e-- Fanfare\u003c\/span\u003e\u003c\/p\u003e","brand":"Signum Classics","offers":[{"title":"CD","offer_id":46012448440554,"sku":"635212072028","price":13.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4182495-3142345.jpg?v=1778234507"},{"product_id":"mozart-symphonies-nos-34-35-36-881488220780","title":"Mozart: Symphonies Nos. 34, 35 \u0026 36 \/ Manasi, Slovak Sinfonietta","description":"\u003cp\u003eMatthias Manasi is rated as one of the most sought-after and most outstanding conductors of his generation, earning himself a distinguished name both on the opera and concert podiums. With a diverse repertoire range he is recognized for his knowledgeable and insightful interpretations, encompassing the great symphonic and operatic repertoire, contemporary scores, and historically informed performances. He is celebrated for the extraordinary combination of precision and temperament of his conducting and the convincing depth of his musical understanding, The Austrian newspaper ‘Heute’ wrote after a concert: “Matthias Manasi delivered an outstanding performance in the legendary, heavenly acoustics of the Golden Hall of the Musikverein Vienna”. The ‘Factanet Rome’ wrote after a concert: “It was a great interpretation that added value to Manasi’s work and that proclaims him as one of the most important conductors of our time”.\u003c\/p\u003e","brand":"Haenssler Classic","offers":[{"title":"CD","offer_id":46012451979498,"sku":"881488220780","price":10.49,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4196655-2967604.jpg?v=1778241213"},{"product_id":"chopin-debussy-kapustin-ligeti-etudes-preludes-881488220834","title":"Chopin, Debussy, Kapustin \u0026 Ligeti: Etudes \u0026 Preludes \/ Deliyska","description":"\u003cp\u003eDora Deliyska: \"It was an exciting and challenging process to record the complex structure of 24 études and préludes. Some of the etudes belong to the most difficult pieces in piano literature, and the préludes have intense musical potential. I decided to record the pieces over a short period of time, in order to keep the spontaneity of the interpretation. I am very thankful to the Teldex Team (René Möller and Jakob Bötcher) and the piano technician Gerd Finkenstein for sharing this musical experience together, and creating an exciting recording.“\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eREVIEW\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cdiv data-widget_type=\"theme-post-content.default\" data-element_type=\"widget\" data-id=\"41b404e9\" class=\"elementor-element elementor-element-41b404e9 elementor-widget elementor-widget-theme-post-content\"\u003e\n\u003cdiv class=\"elementor-widget-container\"\u003e\n\u003cp\u003eThe Bulgarian pianist Dora Deliyska has a penchant for “conceptual” programs that mix and match works related by genre or theme. Her 2018 Capriccio release “The B-A-C-H Project”, for example, juggled preludes and fugues by Bach and Shostakovich alongside decidedly non-Bachian études of Liszt and Chopin. The ordering of pieces seemed less curated than lumped together. The same can be said for her new 80-minute survey of Études and Préludes.\u003c\/p\u003e\n\u003cp\u003eFor instance, the first three selections (Ligeti’s Der Zauberlehrling, Debussy’s Étude for Chromatic Degrees, and Chopin’s “Winter Wind”) texturally complement one another, while Chopin’s nocturne-like Op. 25 No. 7 étude easily elides into Ligeti’s gorgeously lyrical Ligeti Cordes á vide. On the other hand, I glean no insightful programmatic agenda within the small groups of Chopin, Debussy, and Kapustin Preludes placed in succession.\u003c\/p\u003e\n\u003cp\u003eJudging from the present disc (as well as her Liszt and Schubert Gramola releases), Deliyska is more of a poetic than heroic pianist. Indeed, her Chopin “Octave” and “Winter Wind” etudes are less incisive here than her aforementioned Capriccio disc. Her note-perfect Chopin F-sharp minor and B-flat minor Preludes and sharply detailed Debussy Ce qu’a vu le vent d’ouest lack sweep and abandon. Yet what sexy inflections throughout Debussy’s Pour les arpèges composes, and strong inner rhythm in the sedately paced Ligeti L’escalier du diable.\u003c\/p\u003e\n\u003cp\u003eDebussy’s La Puerta del Vino adds up to a curious blend of spiky articulation and curvaceous lilt. However, the concluding three Preludes from Kapustin’s Op. 53 set reveals Deliyska’s stylistic ease with the composer’s jazz-based idiom. If the trajectory of Deliyska’s program lacks tightness and momentum, one still can stream or download the best of individual selections.\u003c\/p\u003e\n\u003cp\u003e-- ClassicsToday.com (Jed Distler)\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Haenssler Classic","offers":[{"title":"CD","offer_id":46012455551210,"sku":"881488220834","price":10.49,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4169806-2936569.jpg?v=1778238486"},{"product_id":"brennan-the-irish-revolution-5019396287624","title":"Brennan: The Irish Revolution","description":"\u003cp\u003eIn this stirring soundtrack of The Irish Revolution; Pól Brennan is joined by Steve Turner; Aiden O'Donnell and Nick Bailey; as well as his sister and fellow CLANNAD member Moya. His music captures the raw emotion sparked by historic events such as the Great Hunger of 1847 through to the Irish Civil War in 1922–1923; using moving tunes and mournful melodies to depict the sacrifices made by the Irish people in their quest for independence. Liner notes written by Cathal Goan.\u003c\/p\u003e","brand":"ARC Music","offers":[{"title":"CD","offer_id":46012459974890,"sku":"5019396287624","price":10.49,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4408850-3332379.jpg?v=1778205440"},{"product_id":"balkan-discoveries","title":"Balkan Discoveries","description":"\u003cp\u003e“In addition to working together with living composers, the rediscovery of undeservedly forgotten works is an immense enrichment for us instrumentalists, who all too often find ourselves in the role of reproducing a few well-known pieces. It is for this reason that my joy was all the greater when one day Oliver Triendl told me about a genuine treasure: during his extensive research on composers from the Balkan region, he had unearthed a number of completely unknown works for bassoon and piano and immediately had the intuitive idea of recording them on CD.\u003c\/p\u003e\n\u003cp\u003eHowever, the result of his research was so extensive that several CDs could have been filled with the works he had found, and so we played through piles of sheet music for half a night until we finally arrived at our selection for this CD. With this CD, I hope to contribute to the expansion of the repertoire of my instrument, and also to promote a wider dissemination of the classical musical tradition of the Balkan region, which has so far been under-represented, and not only in the bassoon repertoire.” Theo Plath\u003c\/p\u003e","brand":"Haenssler Classic","offers":[{"title":"CD","offer_id":46012460335338,"sku":"881488230062","price":10.49,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4207071-3144980_88ae8109-1d58-4832-9961-668e14075476.jpg?v=1778215398"},{"product_id":"moch","title":"Moch \/ DLÙ","description":"\u003cspan data-mce-fragment=\"1\"\u003eThis exciting quintet of young Scottish Gaels, DLÙ, are winners of the ‘Danny Kyle Open Stage 2018’, and were nominated for the MG Alba Scots Trad Award, ‘upcoming artist of the year’, in 2019. Their debut album \u003cem\u003eMoch\u003c\/em\u003e champions the Gaelic language and culture while blending progressive arrangements, eclectic musical influences and youthful energy. The result – face-paced traditional Scottish tunes with funk, rock and pop – a sound that is uniquely their own. “The greatest reward for those mostly unsung champions of Gaelic language, music and culture is that bands like DLÙ are in the world today.” -Mary Ann Kennedy\u003c\/span\u003e","brand":"ARC Music","offers":[{"title":"CD","offer_id":46012464038122,"sku":"5019396295629","price":10.49,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4044752-3141683.jpg?v=1778252705"},{"product_id":"adamek-follow-me-where-are-you","title":"Adámek: Follow Me - Where are You? \/ Kožená, Faust, Rattle, Bavarian Radio Symphony","description":"\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eBorn in Prague in 1979, the composer, conductor and chorus master Ondrej Adámek, who studied in his Czech hometown and in Paris, has already won numerous prestigious awards for his orchestral, chamber, vocal and electro-acoustic music. In his musical language, which also repeatedly incorporates elements of distant cultures, he creates unusual musical narratives. He seeks the authenticity of his interpretations by combining voices and movements, gestures and theatricality, phonetic and semantic aspects, and his own specially developed musical instruments. The premieres of Ondrej Adámek's \"Where are You?\" and \"Follow me\" were distinctive for their excellent casts, featuring stars such as Magdalena Kožená, Isabelle Faust and Simon Rattle. In Adámek’s \"Follow me\", a three-movement concerto for violin and orchestra, the melodies are divided between the soloist and the orchestra along the lines of the late medieval hocket technique, whereby the composer seeks to connect a single individual with a (human) crowd. The first performance of Adámek’s \"Where are You?\" for mezzo-soprano and orchestra was an outstanding event in Munich's concert programme this year. In the eleven-part, approximately 35-minute-long kaleidoscope of sound, dominated by constant motoric movement – ranging from everyday sounds such as the monotonous ticking of a clock to the sweeping, electrifyingly rhythmic pounding of the orchestra tutti – the composer embarks on a search for the human (\"Where do we come from and where are we going?\") and the divine.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReview\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eThis is music that grabs the listener by the ears and doesn’t let go. I found it completely exhilarating.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eNothing about either score included on this recording is remotely derivative or even predictable. If I were to say that it is as if Adámek had smashed up all previous music into tiny pieces and then reconstructed them into something marvellous and new, that might give the impression that he is some kind of arch post modernist. He is nothing of the sort. Almost miraculously he manages to be both uncompromisingly modernist and yet intensely communicative. Try his setting of what, in effect amounts to St Theresa’s ecstatic, religious orgasm in the seventh song of \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eWhere Are You?\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e and what you’ll get is music that verges on the demented but which manages to be deeply spiritual \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eand\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e very sexy! Both scores are full of such wild, rude, exultant moments.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eFollow Me\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e is simultaneously a violin concerto and someone having a lot of fun with what a violin concerto might mean. I am not aware of another concerto that concludes with what amounts to a musical lynching of the soloist by the orchestra. One of the characteristics of Adámek’s writing is his absolute command of even the most outré material. Every note delivers an aural punch. He is of course capable of writing music of great delicacy, as in the concerto’s Bach derived slow movement but even here every note makes its point.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe opening movement features orchestral soloists echoing the opening phrases by the solo violin (the ‘follow me’ of the work’s title), phrases the composer explains in his joyous, quixotic note that were inspired by the exaggerated vibrato of a singer in Japanese Noh theatre. The orchestra, in a sense, gathers round the soloist, repeating her phrases. Isabelle Faust is at her imperious best here. This then subsides into silence before the soloist starts again with more seductive phrases. As Adámek puts it, these phrases provoke the orchestra “eventually driving them mad”. This builds and builds as the various motifs combine and recombine. The tension generated by the gradually gathering of tempo and volume is quite ferocious before Adámek pulls the rug from under the expected eruption and the movement ends with weird whistlings and scrapings out of which the slow movement evolves. A great strength of Adámek’s music is to unsettle the listener whilst keeping them on the edge of their seat.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eOne of the unifying techniques across all three movements of this concerto is what Adámek likens to a kind of musical ping pong where melodies are split, in alternate notes, between soloist and members of the orchestra. This effect plus an extreme elongation of material taken from Bach is most noticeable in this slow movement. It is a strange and mysterious movement that subsides into the uneasy calm from it emerged.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eOn a purely technical level, the finale combines all the elements of the previous two movements but that scarcely does justice to the effect it has on the listener. The shadowing of the soloist which gives the work its title is allowed finally to work its way from a hushed, fugitive opening all the way to the mighty climax that the opening movement was robbed of. As in that movement, the following of the soloist by the orchestra becomes more combative- a wry nod I think to the lion taming tradition of the 19\u003c\/span\u003e\u003csup data-mce-fragment=\"1\"\u003eth\u003c\/sup\u003e\u003cspan data-mce-fragment=\"1\"\u003e century virtuoso concerto – and the music, dominated by a rogue trombone, constantly threatens to swamp the soloist whose final phrases are delivered off stage before a final thrilling orchestral stampede rounds things off. Is that a tongue in cheek reference to the final sacrificial dance of the Rite of Spring I hear in this final passage? What this description may not capture is that this is all immensely diverting and colossal fun. The world of Adámek’s music may be capable of great seriousness but it never takes itself too seriously.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eFollow Me\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e is, in many ways, the curtain raiser for the even more remarkable \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eWhere Are You?\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e My earlier comments have probably already given some indication of what it is like. Written for mezzo soprano and orchestra, it is a song cycle on spiritual themes with texts from the Bible, the Gita and the autobiography of St Theresa. None of this is handled in a conventional manner. The opening section revels in the vowel sounds of the opening line of the Lord’s Prayer in Aramaic. A later movement sets possible Czech translations of those Aramaic words. It’s that sort of piece! \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe theme that unites these disparate elements is the way in which the spiritual quest for the divine however how high it can raise us comes down to earth with the question ‘Where are you?’ left unanswered. It has to be said that the piece celebrates the quest as much as it illustrates its ultimate failure and it does so with affection and good humour as well as profundity and anguish.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe vocalist is required to adopt a huge range of singing styles from breaths and rolled r’s to folk singing to outrageous coloratura. As in most of his other scores that I’ve heard, Adámek can find music in almost anything and make no mistake – this is a \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003emusical\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e event above all else. The composer isn’t advancing some obscure musicological idea but making maddening, frenzied, bewildering, exuberant music. Ultimately, like the spiritual quest it describes, words fail to do justice to this piece. You are just going to have to listen to it.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e--\u003cem\u003eMusicWeb International\u003c\/em\u003e (David McDade)\u003cbr\u003e\u003c\/p\u003e","brand":"BR Klassik","offers":[{"title":"CD","offer_id":46012465479914,"sku":"4035719006384","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4041618-2777865.jpg?v=1778268996"},{"product_id":"vaughan-williams-grieg-violin-sonatas-635212073421","title":"Vaughan Williams \u0026 Grieg: Violin Sonatas \/ Ciem, Golan","description":"\u003cp\u003eCharlie Siem returns with a new recording of Violin Sonatas, accompanied by his regular recital partner Itamar Golan – featuring Vaughan Williams' Violin Sonata in A Minor and Grieg's Violin Sonata No. 2 in G Major, Op. 13. 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My idea for the album began sim- ply with a desire to record Britten’s Les Illuminations, a work I feel closely connect- ed to, having performed it many times over the years and each time having found something new in it to interest me”\u003c\/p\u003e","brand":"Signum Classics","offers":[{"title":"CD","offer_id":46012468560106,"sku":"635212073520","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4177081-2957001.jpg?v=1778231348"},{"product_id":"hong-monteverde-alondra-5019396296923","title":"Alondra - Pipa Meets Flamenco Guitar \/ Gao Hong, Monteverde","description":"\u003cp\u003eTaking on the bold freedom of the skylark, Chinese pipa virtuoso Gao Hong and flamenco guitarist Ignacio Lusardi Monteverde fly together from ancient Asian dynasties, through the Thar desert to Andalusia, harmoniously combining cultures as the East meets West.\u003c\/p\u003e","brand":"ARC Music","offers":[{"title":"CD","offer_id":46012469772522,"sku":"5019396296923","price":10.49,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4408853-3332382.jpg?v=1778195105"},{"product_id":"a-most-marvellous-party-bevan-spence-middleton","title":"A Most Marvellous Party: Tribute to Noël Coward \/ Bevan, Spence, Middleton","description":"\u003cp\u003eTo mark the 50th anniversary of Noël Coward's death, celebrated musicians and regular Signum artists Mary Bevan, Nicky Spence and Joseph Middleton join forces for this album of works by Coward and his contemporaries. Featuring songs such as Parisian Pierrot and The Man I Love, the album comprises of a collection of solos, duets and instrumental songs by composers such as Ned Rorem, Liza Lehmann, William Walton, and Benjamin Britten.\u003c\/p\u003e","brand":"Signum Classics","offers":[{"title":"CD","offer_id":46012470165738,"sku":"635212073728","price":10.49,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4391613-3304403.jpg?v=1778205554"},{"product_id":"brahms-kahn-fruhling-quantum-clarinet-trio","title":"Brahms, Kahn \u0026 Frühling: Trios for Clarinet, Cello \u0026 Piano \/ Quantum Clarinet Trio","description":"\u003cp\u003eThe human factor determines the path. The Clarinet Trio op. 114 by Johannes Brahms more or less represents the DNA of the Quantum Clarinet Trio, and the piece was one of the driving forces behind the founding of this young chamber ensemble, whose members first met at the Mozarteum University in Salzburg in 2014. At that time, Italian clarinettist Elena Veronesi had been searching for fellow musicians to collaborate in a late work trio, and she found them in the German cellist Johannes Przygodda and Korean pianist Bokyung Kim. What started as a project has now evolved into a permanent ensemble. This great Brahms trio has continued to be a enterprise in which life converges with art.\u003c\/p\u003e\n\u003cp\u003eCellists, pianists and clarinettists usually come together when a work requires such a constellation, the line-up going their own separate ways once the project is completed. Compared to piano trios or string quartets, these particular instruments unfortunately rarely come together as a fixed ensemble. The Quantum Clarinet Trio is a welcome exception to the rule, making this encounter with one of Brahms' most important works much more than just a \"fleeting liaison\".\u003c\/p\u003e","brand":"Haenssler Classic","offers":[{"title":"CD","offer_id":46012471476458,"sku":"881488230222","price":10.49,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4239261-3144986.jpg?v=1778218849"},{"product_id":"wonderland-635212073926","title":"Wonderland \/ The King's Singers","description":"\u003cp\u003e\u003cspan class=\"TextRun SCXW138338153 BCX0\" lang=\"EN-US\" data-contrast=\"none\" xml:lang=\"EN-US\"\u003e\u003cspan class=\"NormalTextRun SCXW138338153 BCX0\"\u003eWonderland is full of magic and myth. \u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW138338153 BCX0\"\u003eContaining\u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW138338153 BCX0\"\u003e exclusively works commissioned by The King’s Singers across their 55 \u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW138338153 BCX0\"\u003eyears\u003c\/span\u003e\u003cspan class=\"LastReplacedFindHitThemed SCXW138338153 BCX0\"\u003e,\u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW138338153 BCX0\"\u003e the album celebrates their trademark musical storytelling\u003c\/span\u003e\u003cspan class=\"LastReplacedFindHitThemed SCXW138338153 BCX0\"\u003e,\u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW138338153 BCX0\"\u003e with no shortage of comedy. György Ligeti’s six Nonsense Madrigals\u003c\/span\u003e\u003cspan class=\"LastReplacedFindHitThemed SCXW138338153 BCX0\"\u003e,\u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW138338153 BCX0\"\u003e each setting playful children’s poetry or extracts from Lewis Carroll’s Alice’s Adventures in Wonderland\u003c\/span\u003e\u003cspan class=\"LastReplacedFindHitThemed SCXW138338153 BCX0\"\u003e,\u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW138338153 BCX0\"\u003e \u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW138338153 BCX0\"\u003eprovide\u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW138338153 BCX0\"\u003e a musical spine to the album\u003c\/span\u003e\u003cspan class=\"LastReplacedFindHitThemed SCXW138338153 BCX0\"\u003e,\u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW138338153 BCX0\"\u003e commemorating 100 years since the composer’s birth in 1923. From just over 50 years ago\u003c\/span\u003e\u003cspan class=\"LastReplacedFindHitThemed SCXW138338153 BCX0\"\u003e,\u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW138338153 BCX0\"\u003e the fairytale The Musicians of Bremen (1972) – set to music by the Australian composer and Master of the Queen’s Music Malcolm Williamson – sits alongside Time Piece (1972) by Paul Patterson\u003c\/span\u003e\u003cspan class=\"LastReplacedFindHitThemed SCXW138338153 BCX0\"\u003e,\u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW138338153 BCX0\"\u003e which tells an eccentric alternative creation story. These myth-based works have recent companions such as Judith Bingham’s extended work Tricksters (2019)\u003c\/span\u003e\u003cspan class=\"LastReplacedFindHitThemed SCXW138338153 BCX0\"\u003e,\u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW138338153 BCX0\"\u003e which unearths what could happen if miscreants from different world mythologies could come together for the first time\u003c\/span\u003e\u003cspan class=\"LastReplacedFindHitThemed SCXW138338153 BCX0\"\u003e,\u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW138338153 BCX0\"\u003e and Ola Gjeilo’s \u003c\/span\u003e\u003cspan class=\"NormalTextRun ContextualSpellingAndGrammarErrorV2Themed SCXW138338153 BCX0\"\u003eA\u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW138338153 BCX0\"\u003e Dream within a Dream which questions the very nature of \u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW138338153 BCX0\"\u003eperception\u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW138338153 BCX0\"\u003e and reality. The album also features the legendary Japanese film and game composer Joe \u003c\/span\u003e\u003cspan class=\"NormalTextRun SpellingErrorV2Themed SCXW138338153 BCX0\"\u003eHisaishi’s\u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW138338153 BCX0\"\u003e first ever choral work\u003c\/span\u003e\u003cspan class=\"LastReplacedFindHitThemed SCXW138338153 BCX0\"\u003e,\u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW138338153 BCX0\"\u003e I was there (2022)\u003c\/span\u003e\u003cspan class=\"LastReplacedFindHitThemed SCXW138338153 BCX0\"\u003e,\u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW138338153 BCX0\"\u003e \u003c\/span\u003e\u003cspan class=\"NormalTextRun SpellingErrorV2Themed SCXW138338153 BCX0\"\u003efocussing\u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW138338153 BCX0\"\u003e on the cultural memory of tragic events such as 9\/11 and the 2011 Japan Earthquake. Themes of hope and positivity\u003c\/span\u003e\u003cspan class=\"LastReplacedFindHitThemed SCXW138338153 BCX0\"\u003e,\u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW138338153 BCX0\"\u003e \u003c\/span\u003e\u003cspan class=\"NormalTextRun SpellingErrorV2Themed SCXW138338153 BCX0\"\u003ecentred\u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW138338153 BCX0\"\u003e on the natural world\u003c\/span\u003e\u003cspan class=\"LastReplacedFindHitThemed SCXW138338153 BCX0\"\u003e,\u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW138338153 BCX0\"\u003e \u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW138338153 BCX0\"\u003eemerge\u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW138338153 BCX0\"\u003e in Makiko Kinoshita’s Ashita no uta (Song for tomorrow) (2020) and Francesca \u003c\/span\u003e\u003cspan class=\"NormalTextRun SpellingErrorV2Themed SCXW138338153 BCX0\"\u003eAmewudah\u003c\/span\u003e\u003cspan class=\"NormalTextRun SCXW138338153 BCX0\"\u003e-Rivers’ Alive (2022).\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"Signum Classics","offers":[{"title":"CD","offer_id":46012471804138,"sku":"635212073926","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4391614-3304335.jpg?v=1778214092"},{"product_id":"vision-bach-vol-2-gaechinger-cantorey","title":"Vision.Bach, Vol. 2 \/ Rademann, Gaechinger Cantorey","description":"\u003cp\u003eThe Internationale Bachakademie Stuttgart is performing all these cantatas in chronological order exactly 300 years later. The 23 concerts in all are taking place in and around Stuttgart; the refined live recordings are being released in this CD series on the Hänssler Classic label. The performances follow the latest state of Bach research documented in the new 2022 catalogue of Bach’s works BWV 3.\u003c\/p\u003e\n\n\u003cp\u003eThe ensemble of the Bachakademie, the Gaechinger Cantorey, plays under the direction of Hans-Christoph Rademann. For this purpose it comprises the instrumentalists and up to four vocalists per voice, including the soloists (details on the performers via QRCode), all specialists in their field, as Bach himself wished it. This is a vision that only now can be fulfilled in its ideal form. To this day the music will inspire its audience to devotion, challenge them to reflect and make them glad. It addresses questions of faith and comes to terms with particular situations of human life.\u003c\/p\u003e","brand":"Haenssler Classic","offers":[{"title":"CD","offer_id":46012472885482,"sku":"881488230260","price":16.49,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4293854-3144988.jpg?v=1778382751"},{"product_id":"mahler-lieder-volume-1-connolly-middleton","title":"Mahler: Lieder \/ Sarah Connolly, Joseph Middleton","description":"\u003cp\u003eOne of the finest Mahlerians of our time, Dame Sarah Connolly brings her fierce intellect and glorious voice to the music she has spent a life-time studying and performing. In the first release of series curated and performed by Joseph Middleton that will champion the complete piano accompanied Lieder of Mahler, the ‘superlative’ (New York Times) duo of Connolly and Middleton, present the three great song cycles of Mahler: Lieder eines Fahrenden Gesellen, Fünf Rückert Lieder and Kindertotenlieder. This is the first time Sarah has performed all three cycles on one album, which she is justly famous the world over for performing with rare insight and consummate artistry. Her voice is the perfect Mahlerian instrument.\u003c\/p\u003e\n\u003cp\u003e“It is such an enormous honor to have made this recording for Signum with Sarah. Mahler’s music can teach us so much about the human condition, our connection with nature, and our empathy towards other humans. A deep spirituality is built into every bar he writes. - Joseph Middleton\u003c\/p\u003e","brand":"Signum Classics","offers":[{"title":"CD","offer_id":46012473344234,"sku":"635212074121","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4391615-3304368.jpg?v=1778224056"},{"product_id":"magnificat-3-nethsingha-st-johns-college-cambridge","title":"Magnificat 3 \/ Nethsingha, St John’s College, Cambridge","description":"\u003cp\u003eFollowing their critically acclaimed ‘Psalms’ album, St John’s College, Cambridge and Andrew Nethsingha present a selection of Magnificat \u0026amp; Nunc Dimittis recordings from January and July 2022. Much of the third volume in their series of Evening Canticles focuses on music in a twenty-year period, from 1945 to 1965. Philip Moore’s Magnificat and Nunc Dimittis were commissioned especially for St John’s College, Cambridge.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eREVIEWS\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"c-product-review--quote\"\u003eIt’s sad that Nethsingha’s departure means that the next volume will be the last. I can’t think of a greater or more apt epitaph to the music director’s time at St John’s.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"c-product-review--quote\"\u003e-- Gramophone (\u003cstrong\u003eEditor's Choice\u003c\/strong\u003e, May 2023)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"c-product-review--quote\"\u003eThese contrasting works, embracing solo writing and full-bodied, lavish textures, give the choir the chance to display their warm sound and versatility. They do, wholeheartedly.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"c-product-review--quote\"\u003e-- The Guardian (UK)\u003c\/span\u003e\u003c\/p\u003e","brand":"Signum Classics","offers":[{"title":"CD","offer_id":46012474163434,"sku":"635212074220","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4182496-2971848.jpg?v=1778205916"},{"product_id":"davis-blue-bateman-royal-philharmonic-orchestra","title":"Davis: Blue \/ Bateman, RPO","description":"\u003cp\u003eThis is Oliver Davis’ first album dedicated to the piano, and specifically two pianists, Dutch piano duo Beth \u0026amp; Flo. The album features this dynamic duo playing four hands piano and also on two pianos with full orchestra. The song cycle ‘Siren Songs’ features sopranos Grace Davidson, Julia Doyle and Grace’s son chorister Joshua Davidson. The theme of the album is water, in its many forms with songs depicting a river journey, Sea Dances for four hands and strings, Sea Waltzes in addition to the Water Variations. The opening piece, The Water Garden, will be one of three singles being released prior to the album’s launch. This album is the culmination of two years work to create a mesmerising piano and strings landscape.\u003c\/p\u003e","brand":"Signum Classics","offers":[{"title":"CD","offer_id":46012474851562,"sku":"635212074329","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4391611-3304404_f24c1da0-aae3-46ad-b2f7-1f7ee7753412.jpg?v=1778205580"},{"product_id":"vidi-speciosam-sacred-choral-music-bevan-family-consort","title":"Vidi Speciosam - Sacred Choral Music \/ Bevan Family Consort","description":"\u003cp\u003eSoprano Mary Bevan writes: In 1975, the original Bevan Family Choir released their debut album on vinyl, featuring an eclectic programme of sacred choral works, Welsh folk songs, and piano music. The Choir consisted of 11 of the 14 Bevan siblings and was conducted by their father, Roger. Later on the Choir was taken over by the second eldest son, David, who was to go on to become Assistant Director of Music at Westminster Cathedral. The musical tradition continued to flourish within the family until, in 2013, some of the second generation of cousins decided to create their own version of the family choir, naming themselves the Bevan Family Consort so as to distinguish them from their parents’ generation. The Consort has since ranged in size from 15-22 of the 53 first cousins. To honour David and the influence he had over us all as musicians, this disc consists of music that was introduced to us by him during his years at the Holy Redeemer Church and that have since become beloved by us as a choir.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eREVIEW\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e\u003cspan id=\"ctl00_MainContent_gvReviews_cell2_12_ASPxPopupControl1_ASPxLabel2\" class=\"dxeBase_PlasticBlue\"\u003eThe Bevan Family Consort are particularly good at strongly textured works such as Croce’s \u003cem\u003eIn spirito humilitatis\u003c\/em\u003e, tinged with Venetian monumentalism, or Holst’s \u003cem\u003eNunc dimittis\u003c\/em\u003e with its ecstatic ending. This last piece was not discovered until 1979, some 45 years after Holst’s death. Other rarities include the \u003cem\u003eDignare me\u003c\/em\u003e by Fernando de las Infantas, apparently a Spanish nobleman working in Rome – so obscure as to be practically confidential. The works with intricate polyphony are pleasingly performed, though in the Kyrie and Gloria of Victoria’s \u003cem\u003eMissa Vidi speciosam\u003c\/em\u003e the upper voices are a little sharp and the overall acoustic seems rather distant. Breath control and phrasing is always musical and is apparent even in the plainsongs (Ave Maria). The most beautiful work here is Alonso Lobo’s \u003cem\u003eVersus est in luctum\u003c\/em\u003e. The voices of the Bevan Consort are slightly too disparately coloured to match the magical poise of this work achieved by the group Tenebrae (also on Signum) which shares an album with Victoria’s Requiem. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"dxeBase_PlasticBlue\"\u003e-- BBC Music Magazine\u003c\/span\u003e\u003c\/p\u003e","brand":"Signum Classics","offers":[{"title":"CD","offer_id":46012476948714,"sku":"635212074626","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4202510-2979917_8f990ed6-277e-47f3-b3ea-9481ccfadb82.jpg?v=1778207345"},{"product_id":"apres-un-reve-belle-epoque-nights-at-the-piano-despax","title":"Après un rêve - Belle epoque: Nights at the Piano \/ Emmanuel Despax","description":"\u003cp\u003e“Après un rêve” is an ode to the French Belle Époque repertoire, depicting the beauty of dreams and the night. The album is an opportunity to hear and perhaps discover rarely played \/ rarely recorded wonderful works (Chaminade Nocturne, Duparc Aux étoiles, Poulenc Les soirées de Nazelles), alongside central pillars of the repertoire, and includes a world premiere of Despax’s arrangement of Après un rêve. The album is attributed to his grandfather, Jacques Charpentreau, a French poet who adored this repertoire and frequently drew inspiration from the night in his works. Despax has curated some of his poetry, as well as works by other poets he admired to complement this music, taking the listener on an immersive poetic and musical journey through this noctur- nal landscape.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eREVIEW\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"c-product-review--quote\"\u003eDespax has recorded Bach, Brahms, Chopin, but the works here particularly suit his sensibility. In Maurice Ravel’s haunting masterpiece Gaspard de la Nuit, he masters the ferocious challenges with ease, delicacy, strength.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"c-product-review--quote\"\u003e-- The Guardian (UK)\u003c\/span\u003e\u003c\/p\u003e","brand":"Signum Classics","offers":[{"title":"CD","offer_id":46012477767914,"sku":"635212074725","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4391617-3304405.jpg?v=1778236862"},{"product_id":"shostakovich-doppeltes-spiel-and-symphony-no-5-in-d-minor","title":"Shostakovich: Doppeltes Spiel \/ Jansons, Bavarian Radio Symphony Orchestra","description":"\u003cspan data-mce-fragment=\"1\"\u003eFor the first time, the successful series of BR-KLASSIK audio biographies is devoting itself to a 20th-century composer: Dmitri Shostakovich. His symphonies are still highlights in the concert hall, and his fate has inspired great novels. But what do we really know about his life? He liked to play his cards close to his chest – and had good reason to do so... Dmitri Shostakovich himself claimed that his life was “rather grey and colorless\". In reality, it was the most exciting composer's life of the 20th century. Revolution and civil war, Stalin's murderous terror, then the Second World War, the \"thaw\" under Khrushchev and finally Brezhnev's brutalist socialism: the whole tragic history of the Soviet Union runs like a thread through his work. As a functionary who seemed to be loyal to the party line, he played along - but his music spoke against the regime and in favor of its victims and of the freedom of art. \"This is a game that can end badly,\" Stalin threatened, probably in person. Shostakovich was thus obliged to fight his own fears as well. He was playing a double game - and knew it was dangerous. This audio biography draws on many sources, some of them still little-known in Germany. The result is a comprehensive, colorful and detailed picture of the composer’s life, and contains several surprises – also with regard to his private life, which should not pale behind the historical panorama. Like every great composer, Shostakovich had his crises and affairs, his great sufferings and small joys.\u003c\/span\u003e","brand":"BR Klassik","offers":[{"title":"CD","offer_id":46012479570154,"sku":"4035719009293","price":19.98,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4037965-2780489.jpg?v=1778269031"},{"product_id":"new-millennium-nethsingha-sjccc","title":"New Millennium \/ Nethsingha, Choir of St John's College Cambridge","description":"\u003cp\u003eAbout the album; Andrew Nethsingha says: “Contemporary music and Commissioning have been central features of the last fifteen years at St John’s. It’s been a joy to work with talented student composers; singers and instrumental- ists; my own musicianship has been greatly enriched by their creativity and energy... After a 30-month break from sessions during the pandemic; we were very pleased to be able to record again in 2022. The material on this album comes from various times of year; whilst we were also continuing our Magnificat series. For the final sessions in December the outdoor temperature was forty degrees colder than it had been for the previous recording in July! The personnel of the lower voices had also largely changed; but I hope you will hear a successful continuity of sound- world. All the composers are alive today but; at the suggestion of one of them; we have omitted dates of birth so as not to intrude on their privacy. I’ve curated a sequence of music which aims to celebrate some of the broad range of styles in 21st-century choral writing. The premiere of Iain Farrington’s Nova Nova was the final piece in my last St John’s broadcast - I have often enjoyed pushing the boundaries of the Anglican choral tradition!”\u003c\/p\u003e","brand":"Signum Classics","offers":[{"title":"CD","offer_id":46012479996138,"sku":"635212075029","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4391618-3304406.jpg?v=1778205494"},{"product_id":"gal-concertinos-for-violin-cello-piano-string-serenade-881488230499","title":"Gal: Concertinos","description":"\u003cp\u003eAs a young man, the composer Hans Gál witnessed an artistic turning point, for it was during the First World War that late Romanticism met the modern musical era. Everything was in motion. He himself was however critical of many musical initiatives and admitted: “I had too little in common with my contemporaries”. 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The tuba is no longer to be underestimated as a solo instrument. This has also been recognised by the German State Music Councils, who have named the tuba as the instrument of the year 2024, a fact that also inspired me to use this as an opportunity to produce this CD. (Siegfried Jung)","brand":"Haenssler Classic","offers":[{"title":"CD","offer_id":46012491399402,"sku":"881488230673","price":10.49,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4335151-3177942.jpg?v=1778236239"},{"product_id":"schubert-die-schone-mullerin-hammer-johannsen-alinde-quartet","title":"Schubert: Die schone Mullerin \/ Hammer, Johannsen, Alinde Quartet","description":"\u003cp\u003eWith his song cycle, Die schöne Müllerin op. 25, published in Vienna in August 1824, Franz Schubert created one of the first song cycles in music history. 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