The Austrian-Croatian conductor Milan Turkovic, who also has an unparalleled career as a bassoonist, presents a varied Mozart program with the Wiener Concert-Verein chamber orchestra. Turkovic has been particularly interested in preserving the Viennese sound tradition not only since his time with the Concentus Musicus under Nikolaus Harnoncourt. In addition to the world-famous Serenade No. 13 in G major K. 525, also known as "Eine kleine Nachtmusik", this latest CD entitled "Nachtmusik" (Night Music) includes the Divertimento in D major K. 136 and the Symphony No. 39 in E major K. 543, which belongs to the group of the last three symphonies. You can expect Viennese sound tradition "at it's best".

J.S. Bach: Cello Suites

Our complete recording of Felix Weingartner's symphonic works is now finally available at a top price in a box. The press has confirmed that our edition of these symphonies is �a must for all those interested in top-class symphonic music� (Partituren). Marko Letonja and the Basel Symphony Orchestra set out on this adventurous journey of discovery with great devotion and virtuosic skill. Felix Weingartner was not only an internationally acclaimed conductor and a highly influential figure in Basel's music world; he also bequeathed to posterity an extensive compositional oeuvre marked by timeless freshness.

"After an appropriate prelude, the bishop ascended the pulpit, pronounced one of the seven words and began a discourse on it. As soon as he had finished, he descended from the pulpit and knelt before the altar. This pause was filled with music. The bishop entered and left the pulpit for the second, third time and so on, and each time the orchestra reentered after the end of the speech. My composition had to be appropriate for this presentation.” With these words, Joseph Haydn described his work "The Seven Last Words of Our Saviour on the Cross," and this recording is designed in the same way: The reflections on the seven last words are by Father Julius Kappel, FSSP (member of the Priestly Fraternity of St. Peter), performed by the renowned actor and narrator Michael König. Haydn’s music is interpreted by the ensemble Capella Paulana, consisting of Dominik Hellsberg and Georg Wimmer, violins, Robert Bauerstatter, viola, and Benedikt Hellsberg, violoncello, who have been artistically associated with each other for many years. In the sequence of words and music, the underlying biblical message is impressively conveyed both musically and linguistically."

The Bruckner Symphonies, Vol. 9

Gaetano Donizetti had big shoes to fill at his debut in Naples in 1823, arriving at the Teatro di San Carlo just after Rossini's departure, full of talent but still seeking his true voice. Alfredo il Grande is influenced by Rossini, but also shows hints of great things to come. The narrative is a celebration of heroism and magnanimous royalty, taking us to 9th century England where King Alfred the Great is on the run from the Vikings. Revived two centuries after the spectacular failure of it's premiere, this little-known opera seria can now stand as a reflection on humanitarian values and gestures of resistance against the destructiveness of war.

In 1835 Donizetti's Lucia di Lammermoor made it's triumphant debut at the San Carlo in Naples. For it's Parisian appearance four years later as Lucie de Lammermoor, the composer went much further than merely Gallicising the heroine's first name, he subjected the opera to a condensation in which Lucie became the only woman in the entire cast. Donizetti's orchestration remains largely the same but the French influence is audible in new recitatives. This later version is no surrogate or mere abridgement, but, perhaps because of it's greater concision, is more brutal and emotional than the original.

A century after it's world premiere at Teatro all Scala under Arturo Toscanini, conductor Francesco Cilluffo opened the 2024 season of the Teatro Lirico in Cagliari with this acclaimed production of Arrigo Boito's rarely performed Nerone. Set in Rome and focusing on Nero during a time of conflict between belief in Roman Gods and Christianity, Boito's opera displays a forward-looking harmonic palette with an eloquent and masterly handling of large orchestral forces.

Lourie - Ablinger - Schnebel - Debussy

12 years after his album entitled ‘Italian Virtuosi of the Chitarrone’ (BIS-1899), Jakob Lindberg returns to his magnificent theorbo, specially built for him by the luthier Michael Lowe, based on an instrument preserved in the Musée de la Musique in Paris.

One of the most spectacular instruments of the early baroque owing to its length and great number of strings, the theorbo was originally designed to accompany the voice but is also ideally suited to solo performance.

For this disc, Lindberg has chosen pieces by Robert de Visée, one of the great French masters of the lute, theorbo, and guitar repertoire and a favorite of Louis XIV. The recording features dances as well as character pieces, including a moving ‘Plainte’ in memory of his two deceased daughters. It also includes de Visée’s arrangements of compositions by Lully, Couperin, and Purcell as well as his own version of Les Folies d’Espagne, a very popular chord progression that inspired so many composers of his time.

Jakob Lindberg writes: ‘I can’t help but be seduced by the grace of the instrument’s lines, the resonance of its sonorities, and by the unmistakably French elegance of this remarkable composer.’

In the early 1670s, soon after Venetian opera became established in Naples, a series of comic figures began to inhabit secular but also sacred operas. These stock characters included the Neapolitan, the Calabrian and the Boy, and all three plus a fourth, 'The Spaniard', appear in a comic intermezzo inserted in the 1673 opera Il disperato innocente by the little-known Francesco Antonio Boero. This is the oldest surviving Neapolitan comic intermezzo, and, along with it's Prologue, seems to have been written by other authors. This video preserves a historically informed performance given by Antonio Florio with Pino de Vittorio that explores the tradition of the intermezzo in 17th century plots.

Initially composed for performance during the season of Lent, Donizetti's Il diluvio universale ('The Great Flood') takes a Biblical story and mixes it with the human nature of the main characters, creating a uniquely intense drama. Performed here with a stellar cast in it's acclaimed 2023 revival at the Festival Donizetti in Bergamo, this production transports Donizetti's opera into the present day. In this staging collective and individual destinies are interwoven, urging us to reflect on issues such as the environmental crisis and climate change.

Influential German poet Barthold Heinrich Brockes reinvented the Passion oratorio tradition, transforming it's textures into a much-admired poetic meditation that took hold of the imagination of many German Baroque composers. Of several settings Handel's is by far the most famous, creating an eloquent and moving score from his friend's libretto. This acclaimed staged version directed by Walter Sutcliffe extends the vision of the original by asking fundamental questions about the evolution of mankind and it's dangerous implications for planet Earth.

Under the title "Kaleidoskop Europa", this CD presents a musical journey that encompasses the entirety of Europe. Central to the album is the concept of dance as a medium that both connects people via music and body language, and also motivates them to express themselves with one another, regardless of national origin, language, religion or culture. The album features dances from eleven different European countries, commencing and concluding the musical journey in Vienna-the home of both the ensemble and the painter Ferdinand Georg Waldmuller. By combining pieces of music from different countries, dance emerges as a symbol of the unity found within Europe's diverse cultures. All compositions are arranged for piano trio, with the exception of the opening march by Fritz Kreisler, which was originally composed for this instrumentation. Some arrangements were made by Martin Forst, the cellist of the trio, specifically for this production, thus leading to their premiere presentation on this CD. Through these adaptations, works originally composed for piano or orchestra take on a new form: the auditory experience is enhanced by numerous dimensions-particularly regarding color richness and transparency - revealing intriguing and novel facets of the compositions to listeners.

The first time Margarita Hohenrieder heard the Finnish pianist Antti Siirala, she was a member of the jury for the International Beethoven Competition in Vienna in May 1997. Many years later, Antti Siirala was appointed Professor for Piano at the University of Music and Theatre Munich - a happy coincidence that gave both the opportunity to make music together. The very first time they played together, we sensed a special musical relationship: a similar ideal of sound and a very deliberate way of listening to one another. Embarking with a fellow-musician on an artistic journey - such as making Mozart sound convincing on modern instruments, searching for the right tempo, rhythm, vivid phrasing, thrilling dynamics - is a highly creative process and certainly an inexhaustible source of inspiration. As an exciting contrast to their Mozart interpretations, they offer the South American sounds and rhythms of the bandoneon and the typically wistful melodies of the tango Cristian en el Cafe Tortoni Buenos Aires by Francoise Choveaux - a quite different but equally stimulating challenge. Hohenrieder also was introduced to the great bandoneon player on our recording, Sebastien Innocenti, by Francoise Choveaux. Margarita Hohenrieder is always treading unusual paths. Together with her friend, the painter Bernd Zimmer, she holds creative performances: "2 left hands," in which Bernd Zimmer creates a picture with his left hand while Margarita Hohenrieder plays works exclusively for the left hand. The well-known jazz musician Ingfried Hoffmann, Hjalmar Hegi Ragnarsson from Iceland and Francoise Choveaux wrote compositions especially for this performance. The cover of this CD and the booklet feature the painting "Ast", 2022 by Bernd Zimmer. The tango "Cristian en el Tortoni Buenos Aires" is dedicated to Margarita Hohenrieder.

Anton Heiller (1923-1979) was by far the most influential figure to shape the significance that the 'king of instruments', the organ, achieved in Austria in the second half of the 20th century - a significance that continues undiminished today, decades after Heiller's death, and is passed on by his many students and their students in turn. In Heiller, the composer, the additional creative dimension can be heard and, provided one is able to do so, played. While there is, strictly speaking, no need for anniversaries to honor this outstanding personality, the 100th anniversary of Heiller's birth is a unique opportunity to present his works in a systematic manner, as is the case with this recording of his organ works. Its distinctive character has established Heiller's music firmly in the international repertoire, with sacred music occupying the most prominent place in the composer's oeuvre. His organ compositions also frequently refer to ecclesiastical themes.

For this complete recording of all 36 works, Ludwig Lusser, cathedral organist at St. Pölten, recorded the 24 works for solo organ, the ten works for choir and organ, and the two concertos for organ and orchestra on the cathedral's Metzler organ, starting in 2012, and working with conductor Otto Kargl (Domkantorei St. Pölten, Cappella Nova Graz), Simon Erasimus (Momentum Vocal Music), Norbert Matsch (Puellae Wilthinensis), and Peter Planyavsky (Niederösterreichisches Tonkünstlerorchester).

It is both comforting and gratifying that, contrary to current trends in dealing with deceased contemporary composers, Anton Heiller remains widely present today through his vital musical legacy.

Francesco Cilea's Gloria, performed here in it's 1932 revised edition, takes as it's theme the ultimately tragic story of two lovers caught up in a conflict in 14th-century Siena. The libretto is based on Victorien Sardou's play La Haine (Hatred) and the opera features Cilea's refined orchestral writing inspired by the Russian and French schools, with vocal lines that are varied and rewarding. Opera Today called this production 'musically magical', while Operawire. Com extolled the inventive and convincing staging along with Francesco Cilluffo's compelling musical direction.

Stuttgart-born mezzo-soprano Christina Baader has been a much sought-after musician for many years, not only as an opera singer and soloist, but is also an internationally successful visual artist. To mark the 100th anniversary of Gabriel Faure's death, Christina Baader and Gert Hecher, piano, are presenting an album by the title MONDE ET MYSTeRE with a selection of his songs as well as those by Henri Duparc, who also played a significant role in establishing an independent French art of song. The expressive songs are based on poems by famous French poets such as Paul Verlaine, Charles Baudelaire, Armand Silvestre, Theophile Gautier, Rene-Fran�ois Sully-Prudhomme and Jean Lahor. Together with Gert Hecher, a specialist in the restoration of historical keyboard instruments, two grand pianos from 1868 and 1879, respectively, from the famous erard piano manufactory in Paris, which at the time had a similar status to Steinway & Sons today, were chosen to best emphasize the different tonal and stylistic elements of the works of the two composers.

Mauricio Kagel "a"

Metier proudly presents the release of Param Vir's double opera bill, featuring "Snatched by the Gods" and "Broken Strings," originally broadcast on BBC Radio 3's Hear and Now show in September 1996. These compelling one-act operas, performed by Almeida Opera with the London Sinfonietta under the masterful baton of Markus Stenz, showcase Vir's exceptional talent for both vocal and instrumental composition. Snatched by the Gods Inspired by Tagore's narrative poem "Debatar Gras," this opera immerses the audience in a dramatic tale of devotion, fear, and divine retribution. Commissioned by Hans Werner Henze, "Snatched by the Gods" is the gripping first part of the double bill, where Vir's music vividly portrays the emotional and physical journey of pilgrims facing nature's fury and their own superstitions. The piece brilliantly echoes influences from Berg, Britten, and Messiaen, yet firmly establishes Vir's unique musical identity. Scene I At dawn, amidst the preparations for a pilgrimage, tensions arise as Moksada and her son Rakhal seek to join the journey. Despite initial reluctance, Maitra allows them to board, setting off a chain of events marked by maternal fear and communal panic. As the pilgrims embark, an orchestral interlude captures the serenity and anticipation of their voyage. Scene II The return journey turns perilous as a storm brews, leading to a climactic struggle against nature and fate. In a desperate bid to appease the gods, Rakhal is tragically sacrificed, his death prompting a devastating realization for Maitra, who plunges into the sea, enveloped in guilt and despair. Broken Strings The second opera, also commissioned by Hans Werner Henze, draws from the ancient Buddhist tale "Guttil Jatak," delivering a story that intertwines musical mastery with profound moral lessons. Vir's enchanting score brings to life a rich tapestry of characters and mythical creatures, each vividly depicted through his inventive orchestration. Synopsis In a kingdom searching for it's next Player to the King, the arrogant young musician Musil faces an unexpected challenge from the humble, nearly blind Guttil. As Guttil's instrument breaks string by string, his music grows increasingly extraordinary, conjuring magical beings and mesmerizing the court. Musil's attempt to replicate Guttil's magic leads only to his own downfall, highlighting the folly of envy and the true essence of artistic brilliance. This tale, framed as a "play within a play," captivates not just the onstage audience but also the listening spectators, drawing them into a narrative where music and morality are deeply intertwined. The opera features notable performances, including the superb vocal talents of Susan Gorton, Ann Archibald, and Richard Lloyd Morgan, with Welsh tenor Wynne Evans, known as the moustached tenor in the Go Compare adverts, adding a familiar touch. The London Sinfonietta, renowned for it's dedication to contemporary music, brings Vir's complex and evocative compositions to life with precision and passion. Founded in 1968, the ensemble has a rich history of commissioning and premiering groundbreaking works. It's commitment to innovation and education ensures that each performance resonates deeply with both seasoned audiences and new listeners alike. Experience the powerful storytelling and exquisite music of Param Vir with this landmark Metier release, a testament to the enduring impact and creativity of contemporary opera.

Britten - Missa Brevis - Ceremony of Carols and Williams - Mass

En reaction aux resonnances neo-classiques qui dominaient le paysage musical francais de l'apres Seconde Guerre mondiale, quelques compositeurs - emboitant le pas au groupe Jeune France (Messiaen, Jolivet...) - ambitionnerent de mettre en lumiere les grandes figures de la tradition moderne, Webern, Schoenberg, Stravinsky, Berio et quelques autres. Pierre Boulez fut sans aucun doute le plus celebre representant de cette nouvelle orientation. Compositeur mondialement reconnu, pedagogue, initiateur et directeur de nombreuses institutions (Ircam), il fut egalement l'un des plus respectes meneurs d'orchestre, mettant sa baguette au service du repertoire de son temps. Christophe LOINTIER & Patrick FReMEAUX. In reaction to the neoclassical resonances that dominated the French musical landscape post-World War II, a few composers - following in the footsteps of the 'Jeune France' movement that included Messiaen and Jolivet - made efforts to throw light on the great figures of the modern tradition, namely Webern, Schoenberg, Stravinsky, Berio and a few others. Pierre Boulez was no doubt the most famous of this new orientation's representatives, a world-renowned composer and teacher who initiated and directed numerous institutions such as the Ircam for example. He was also one of the most respected conductors to wield a baton over the repertoire of his day. Christophe LOINTIER & Patrick FReMEAUX

Anton Bruckner and Sankt Florian, an incomparable and authentic relationship: In the monastery of Sankt Florian, Bruckner’s home and resting place, not a single stone has changed since Bruckner’s time. Conductor in Residence Rémy Ballot and the Altomonte Orchestra of St. Florian have been using the annual gathering at the St. Florian Brucknertage festival for more than ten years now to devote themselves intensively to a selected Bruckner symphony and to present it to the audience in one or two celebrated concerts. From the live recordings this 10-part cycle was created and in 2023 completed with the recording of the “Nullified Symphony WAB 100” and is now being released as an exclusive complete edition. In the entire history of Bruckner’s reception, this is the only cycle to have been performed live in its entirety by a single conductor – Rémy Ballot – exclusively in Sankt Florian. The acoustics of the St. Florian Abbey Basilica are problematic due to their reverberation time of up to ten seconds, and are only suitable for a few works, as there is a danger of “harmonic mush” if the tempo is too fast and the harmonic changes too rapid as a result. Far from this trap, on the contrary, music is made in alliance with the acoustics in the present recordings. The architectural and acoustic conditions of the basilica require a consciously specific articulation and dynamic shaping. The Altomonte Orchestra, made up of local musicians reinforced by members of the most important Austrian orchestras, is traditionally deeply familiar with these, as well as is the Upper Austrian Youth Symphony Orchestra, which has been performing Symphonies VI and VIII for this edition.

Vorobjova's very personal "cantabile" collection from the extensive Scarlatti virtuosic harpsichord repertoire.

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