Finally available a never before released recording of Alberto Rasi and Roberta Invernizzi recorded in 2012. Madrigals composed at the turn of the 17th century for solo voice accompanied by a consort of viols. As usual in Rasi's always well-conceived discs, vocal pieces are interpsersed with instrumental ones making up for a thoroughly pleaing listening from start to end.

Gramophone:��immense technical fluency... innate musical quality...�exceptionally well-mannered performances...�Lugansky's tone is beautifully rounded and unforced in all parts of the dynamic spectrum (a truly Russian prerogative) and passages of delicate filigree are spun off with a no less enviable elegance and lightness. Musicweb:�The piano playing is truly outstanding, with the young Russian giving the sort of red-blooded readings that have one thinking of a young Richter, Gilels or from our own time, Kissin or Pletnev... This is altogether outstanding Soviet pianism

The four-hand versions of orchestral works by Felix Mendelssohn-Bartholdy recorded here by Sontraud Speidel and Franziska Lee are all by the composer himself and correspond to the musical text of the respective first editions published during Mendelssohn's lifetime, with the sole exception of the overture to the early Singspiel Soldatenliebschaft, whose first publication as part of the Mendelssohn Complete Edition appeared with so many printing errors that a correction was urgently required. This was done by Sontraud Speidel and the Karlsruhe music researcher Dr Joachim Draheim. The five works span a period of 22 years, presenting interesting examples of little-known music for the operatic stage and the Overture op. 24, unfortunately almost never heard, with two famous compositions from Mendelssohn's mature years, both of which were inspired by the profound impressions of the journey to Scotland (summer 1829).

In addition to his symphonies, Anton Bruckner is best known for his sacred works: his stirring masses and his deeply moving a cappella motets. On this new BR-KLASSIK CD, to mark the Bruckner Year 2024, the Bavarian Radio Chorus and the Münchner Rundfunkorchester conducted by Peter Dijkstra present his Mass No. 2 together with five well-known motets and the two short Aequali for three trombones from 1847. The new studio recordings were made in connection with the opening concert of the 2023/24 season on October 28, 2023. On a second CD, "Bruckner's World" by Markus Vanhoefer offers not only an introduction to the recorded works but also a detailed description of the life and work of this important Late Romantic composer.

After Bruckner's uncommissioned Mass (No. 1) in D minor had brought him to the attention of a wider public – following its premiere on November 20, 1864 in the Old Cathedral in Linz and a repeat performance in the city’s Redoutensaal – Bishop Franz Joseph Rudigier commissioned a second mass from the composer. Bruckner wrote the work between August and November 1866, and it was to be premiered at the consecration of the Votive Chapel of the New Cathedral; due to delays in the construction work, however, the performance could not take place until September 29, 1869. The premiere of the Mass (No. 2) in E minor for eight-part mixed choir and wind ensemble was also a great success, and Bruckner described it as “the most glorious day” of his life. The unusual instrumentation was due to the occasion and the open-air performance venue on the cathedral building site (the new chapel had proven too small for the choir). The work derives its particular tension from the sharp contrasts between archaic, psalm-like monophony and a strictly polyphonic movement structure modeled on Palestrina, combined with the "modern" wind accompaniment in sweeping, romantic harmony.

Bruckner thoroughly revised the Mass (No. 2) between 1876 and 1882, and the premiere of the second version in the Old Cathedral on October 4, 1885, as part of the Diocesan Jubilee in Linz, was once again an outstanding success. The composer "stood at the organ during the performance and gazed rapturously at the vault of the cathedral, his lips moving in silent prayer."

Bruckner's sacred motets are characterized by Catholic worship and the church spaces that were Bruckner's home from childhood. In 1837, at the age of 13, he was admitted as a choirboy to the Augustinian canons' monastery of Sankt Florian near Linz, where he worked as an organist from 1848 to 1855. His religious devotion and early influence meant that he initially saw himself as a church musician, before broadening his scope to include symphonic music - in whose sound architecture the organ also found an audible echo.

Anna Zassimova invites us to take a third journey through the musical landscape of Russian destiny. This journey through the peculiarly Russian Ouroboros of the tormented twentieth century enables us to discover, once again, rare works and the uncharted environments in which they took root. All these works are parables of implacable destinies against which it seems futile to struggle, but which must be defied in order to follow the veiled path of the soul.

In a time of change and challenge, Fumito Nunoya was inspired by the transcendent power of music. He experienced solace and connection through music. The album "Marimba Prayers" presents a multifaceted selection of works ranging from well-known masters such as Johann Sebastian Bach to contemporary composers. Nunoya's virtuoso playing awakens emotions and touches souls. This CD invites you on a profound journey of discovery through sounds that spring from the depths of life.

Both works are a legacy. Schubert's Arpeggione Sonata is the only document that such an instrument existed, no longer exists today and has been replaced by a viola or cello. Shostakovich's Viola Sonata is his last work; he died a few days later. A legacy of his thoughts and musical explorations, one of his most famous works. Andreas Willwohl travels as a soloist with his viola, but is also a member of the highly acclaimed Mandelring Quartet. Daniel Heide is certainly very famous as a partner to various singers, but also as a chamber musician.

Musicam semper amavi ("I have always loved music") - Martin Luther In Reformationssvit, I wanted to create a musical journey through the history of Christianity with a series of hymns, composed or modernised by Martin Luther, as well as some Swedish hymns, both well-known and little known, which I have arranged in different styles. Most of the hymns can be found in the Swedish hymnbook from 1697, some of which are still included in the present day hymnbook. I have used the old translations, amongst others those by Olaus Petri. The journey begins in Jerusalem in the first century. People are playing music in the streets and market places and singing can be heard from the temple. We also hear Jesus' last words on the cross. Then, via the Coptic church, we arrive at the Gregorian chant with it's modes: Mixolydian, Lydian, Dorian, etc. Martin Luther makes his entry with his high and clear voice. Many of the Swedish hymns have three beats to a bar, which was unusual at the time, and was perhaps considered a little too dance like. I have chosen some of my favourites here. Luther thought that the prayer "Our Father" was rushed through and babbled in the whole world without consideration for it's depth of meaning and holy ritual. Here, it is represented in Swedish folk style, with Luther's text in contrary motion. As with many other melodies, Luther modernised the Gregorian chant "Veni Creator Spiritus". Here, I have woven the two existing versions together. Sometimes I have included citations of Luther or Jesus as a counterpart to the hymns. "Glad dig du kristi brud" is a well-known hymn, but here it is heard with the old text "Frojda dig du Kristi brud", giving a different rhythm to the melody. Everything is tied together by Luther's five "solas" Sola Scriptura: "Scripture alone" Sola fide: "faith alone" Sola gratia: "grace alone" Solus Christus: "Christ alone" Soli Deo gloria: "the glory of God alone" Many of the translations are from Olaus Petri who most likely had met Luther and who had a great impact on the reformation in Sweden. All the melodies I have used were originally single line melodies, so all the voicing and harmonisation have been created by me. Jonas Dominique Reformationssvit had it's premiere in 2017 in Soderledskyrkan with S: t Jacobs Chamber choir and REBaroque

Natalia van der Mersch: The idea of recording all three Brahms sonatas came to us quite spontaneously. Olivier Roberti and I had played them together and thought: Why not? There was no lengthy deliberation, just the will to do it. And so it quickly took shape and we organised ourselves quickly. We had to organise the recording equipment, hire a piano and set the date, all of which required a certain amount of planning. In the end, the recordings took place at Conjoux Castle in Belgium - just like my previous recording with Natalia Kovalzon, with whom I form the duo Natalia. Olivier Roberti: "Despite all my experience, I see playing Brahms as a real challenge. Even in his chamber music works he is quite symphonic and when playing the piano you have to be able to imagine orchestral colours that are not typical for the piano or violin. It is particularly challenging here to shape long phrases powerfully, perhaps in a similar way to what Furtwangler did in his symphonies. For me, the pianist and teacher Leon Fleischer was a formative artistic inspiration - especially in this respect. He was one of the outstanding pianists of his time and his interpretations of Brahms' works had a strong influence on me. His approach of offering clear lines and controlled tempi helped me a lot to find a certain direction in my own playing."

Everyone involved in Jervaulx Singers has a passion for vocal music in all it's forms. The varied repertoire of Les chansons des roses encompasses all that this choir is about - giving singers the freedom to sincerely express themselves through choral music, song and opera. This repertoire, all connected to earth and nature, reminds us to cherish the world around us. Charlie Gower-Smith, Director, Jervaulx Singers

PENTATONE's release of the Czech Philharmonic's complete Mahler Cycle under Bychkov brings together one of Europe's most historically resonant orchestras with a conductor internationally recognised for his structural command and interpretive integrity. The orchestra occupies a distinctive place within Mahler's geographical and cultural landscape - Mahler was born and brought up in Bohemia and completed his First Symphony shortly after spending a year in Prague. Mahler symphonies have been central to Bychkov's programming with the Czech Philharmonic since 2018, when he opened his tenure as Chief Conductor and Music Director with performances of Mahler Symphony No. 2. Symphonies Nos. 1-5, released by PENTATONE beginning in April 2022, have received universal acclaim. The recordings have been selected as Gramophone Editor's Choice and BBC Music Magazine Recording of the Month. As The Sunday Times writes, "This is turning out to be one of the truly great Mahler sets."

This sixth album in this series is rich in music that ranges across Auber’s creative periods where finesse of orchestral detail and piquant harmonies are met by verve and wit. It includes some of Auber's least well-known music, some in world premiere recordings, as well as scores that explore vivid dance themes. Previous volumes can be heard on 8.574335 (Vol. 5), 8.574143 (Vol. 4), 8.574007 (Vol. 3), 8.574006 (Vol. 2) and 8.574005 (Vol. 1).

Genny Basso, a classically trained pianist, interprets some Neapolitan songs - and not necessarily the most famous ones - in an unusual way, infusing them with stylistic elements that hark back to composers of "high culture", but never with the intention of sounding ingratiating or irreverent, or of confronting the listener with a self-congratulatory exercise. What at first glance may appear to be a game of musical camouflage turns out to be the culmination of an interpretation constructed with the performer's consciousness, detecting and at times inducing allusions and references. The resulting, quite surprising interweavings are made credible by an affinity for writing and by it's emotional atmosphere. It's hard to say exactly when the idea for this album was born, says Genny Basso. "Maybe I always had a project like this in mind. As a child, I was enchanted when I listened to my mum play Piscatore 'e Pusilleco on the piano. It was the beginning of a musical passion that never left me and that I continued to cultivate along with my classical training; I looked for informal situations where it was welcome. At some point, however, I realised that so much interest on my part in the Neapolitan tradition deserved a larger and more exclusive space. And that's how my first adaptations came about, those of Era de Maggio and Carmela... and the rest is history."

MOTHER - a word that evokes associations - memories - emotions. Which mother do you think of? A loving mother with a newborn baby in her arms. Intimacy. A despairing mother in deep grief over a lost life. Emptiness. Through words and music our lives are woven together with Mary's life and perhaps we sense that a mother's pain and sorrow, a mother's strength and endurance, a mother's warmth and love are the same now as they were two thousand years ago. Petra Bjorkhaug and Ragnhild Jepsen's S�RMERKT interleaved with Domenico Scarlatti's STABAT MATER. Disc 1 Hybrid SACD MCH 5.0DSD Stereo DSD RedBook PCM: MQA CD Disc 2 Pure Audio Blu-ray 2.0 LPCM 192/24 5.0 DTS HDMA 192/24 7.0.4 Auro-3D 96kHz 7.0.4 Dolby Atmos 48kHz mShuttle: MQA + FLAC + MP3 Region: ABC - worldwide

PAX is a concept in which music, lyrics and the sacred space of the cathedral energize each other in these performances of new works by Norwegian composers who all approach the theme of peace with their own individual reflections and interpretations. The music is composed specifically to be performed and recorded as an immersive experience.

In addition to working on his own compositions, arranging the works of other composers was a constant in Mozart's life. In 1766, Johann Christian Bach was to publish his 'Six Sonatas for Pianoforte or Harpsichord Opus 5' in London. Wolfgang liked these so much that he arranged three sonatas from the collection as concertos for harpsichord. In these three concertos, the harpsichord part is practically identical to the original sonatas by J. Ch. Bach. Although the character of the manuscript suggests that the manuscript (which bears the hand of both Leopold and Wolfgang) could have been made between 1770 and 1772, it is likely that it is based on an earlier draft, close in time to the publication of the Opus 5 sonatas by Christian Bach. Whatever the case, Wolfgang probably planned these chamber concertos for later performances in small, private circles, both in Salzburg and on a new journey through Italy. In April 1764, Bach and the 8-year-old Mozart (!) performed together for the first time in London. The Mozart family's admiration for Johann Christian Bach lasted a lifetime.

I composed I saw Eternity one evening in 2010, after reading Henry Vaughan's poem of the same name earlier that day. Since then, I have written four further works which reference musical themes of this piece. These are all brought together with Bright Apollo on this album, alongside some of my other choral music, to depict a journey from darkness to light. The Phoenix Consort have warm and resonant lower voices, whilst the upper voices soar majestically in higher notes. This is exactly the sound I had envisaged when writing this music. Alexander Campkin

Francesco Molino (1768-1847) was born into a family of violinists in Ivrea, near Turin. There, and for a time in Genoa as well, he made a career as a virtuoso violinist himself, until at the age of 50, he moved permanently to Paris. Once in the French capital, Molino began a new phase of his musical career, which coincided with a significant increase in the number of works he published - almost all of which were dedicated to the guitar, both as a solo instrument and as part of chamber formations. Molino made a significant impact on the Parisian musical world, as is demonstrated by the huge success of the first edition of his Nouvelle Methode pour la Guitare, which had some 400 subscribers both in France and in other European countries (Belgium, Netherlands, Switzerland and Italy). Over the years Molino revised and added to the methos, and various editions of it were published in a number of languages, with a Spanish version even reaching Mexico and Havana. The works presented in this recording were all published as 'sonatas' by Molino, who explicitly stated that they were intended for performance by solo guitar. He uses three main structural types for these sonatas. The first has a romance as a first movement, followed by a rondo (Sonatas Op.1 No.1, Op.15 No.2 and Op.51). The second begins with a short maestoso introduction that is characterised by initial chords and octaves in succession, evoking the orchestral colour of certain operatic overtures. This movement ends with an interrupted cadence and is followed by a theme with variations, before a final rondo (Sonatas Op.1 No.2, Op.15 No.1 and No.3). The third type begins with an allegro first movement in sonata form (in bipartite 18th-century style, featuring two distinct themes with a tonic-dominant relationship) that is followed immediately by a final rondo (Sonatas Op.1 No.3, Op.6 No.1 and No.2). All the sonatas reflect Molino's evident mastery of the art of composition as well as a certain freedom in his approach to musical form. These elements, combined with a refined use of harmony and a deep understanding of the instrument, give the composer a highly personal stylistic language and make Molino one of the most interesting figures in the guitar repertoire of the 19th century. Other information: - Recorded June and October, Rome, Italy - Booklet in English contains liner notes by the artist, along with his biography - Claudio Giuliani plays a guitar by Antonio Mari�n Montero (Granada, 1995) strung with D'Addario Pro Arte EJ46 strings - Francesco Molino (1768-1847) was an Italian guitarist, composer, and violinist, born in Ivrea near Turin, Italy. At the age of fifteen, in 1783, he enrolled in the band of the Piedmont Regiment as an oboist, a post which he resigned in 1793. He dedicated himself to the guitar and built an impressive international career. Later he settled in Paris where he became a famous teacher. - This new recording presents the complete Sonatas for Guitar, characterized by their classical elegance and intricate melodic lines, reflecting the stylistic influences of his contemporaries such as Mauro Giuliani and Fernando Sor. - Molino's sonatas often feature a balanced structure, typically adhering to the classical sonata form with multiple movements including allegro, adagio, and rondo sections. The highly accomplished writing features rapid arpeggios, delicate harmonics, and dynamic contrasts. They form a challenge to the performer but a delight to the audience. - Brilliantly played by Claudio Giuliani, whose previous recordings for Brilliant Classics include works by Diabelli (BC 94614) and Cimarosa (BC 94172).

Discover Johanna Domotor's newly interpreted sound combination, in which flute and string orchestra merge musically. The flutist Johanna Domotor not only shines in dizzying passages, she also juggles virtuously between original works and arrangements, between arranged baroque music and early modern music. The album captures the diversity of 20th century music and presents three world premiere recordings of famous composers such as Shostakovich, Arnold and Stravinsky. The collaboration with the Stuttgart Chamber Orchestra enhances the auditory experience, as Johanna Domotor and the Stuttgart Chamber Orchestra also make their long-standing musical friendship audible outside the concert hall with this album.

Diary of the Bee - A Masterpiece Recorded at Historic Marchmont House, Scotland Composer Helen Leach, known for her enchanting compositions that evoke rich landscapes and deep emotions, releases her album titled "Diary of the Bee." This new collection features a series of rich, tonally traditional compositions. With all tracks being world premiere recordings, the album showcases Leach's remarkable ability to blend lyrical melodies with profound storytelling. "Diary of the Bee" marks a significant addition to the classical repertoire, offering listeners an absorbing journey through Leach's musical landscapes. Each piece on the album unveils a unique narrative, beautifully performed by leading instrumental soloists alongside the esteemed Victoria String Quartet. Reflecting on the inspiration behind her compositions, Leach shares, "Every piece in this album holds a special place in my heart, drawing from personal experiences and the beauty of nature that surrounds me." Indeed, each composition in "Diary of the Bee" tells a story, from the evocative tribute to Prince Philip in "An Edinburgh Farewell" to the introspective musings captured in "Letters from the Owl House." Among the highlights of the album is "Cup of Kindness," a poignant ode to the universal warmth and blessings symbolised by Robert Burns' iconic line, "we'll tak' a cup o' kindness yet." With it's tender melodies and thoughtful arrangements, the piece resonates with a sense of harmony and peace. Another standout track, "Tenera Caritate," showcases Leach's mastery in crafting expressive rhapsodies, as she explores themes of love, hope, and healing through the emotive interplay of clarinet and string quartet. Listeners will also be enchanted by "Where Hope Was Sown," a commissioned piece dedicated to Mr. Oliver Burge, of Marchmont Farms, which beautifully captures the essence of the Lapwing bird and it's pastoral habitat through delicate musical motifs. From the haunting melodies of "The Black Rood of Scotland" to the elegant conversations of "A Song Without Words," "Diary of the Bee" offers a tapestry of sound that is instantly appealing. Recorded at the historic Marchmont House in Scotland, where Leach is Composer-in-Residence, "Diary of the Bee" not only captures the essence of Leach's compositions but also the timeless beauty of it's surroundings. With it's richly layered compositions and superb performances, "Diary of the Bee" stands as a testament to Helen Leach's extraordinary talent and her ability to weave intricate musical narratives.

Beethoven's Sonatas for Piano and Cello, Op. 5 are revolutionary works, with neither instrument subservient and the piano fully independent. This release also features his vivacious variations on 'Ein Madchen oder Weibchen' and 'Bei Mannern, welche Liebe fu�hlen' from Mozart's Die Zauberflote. Volume 2 is scheduled for release on 8.574530 in November.

Suites, fugues, toccatas and variations by a well-travelled contemporary of JS Bach, in a new recording by an Italian harpsichordist with an impressive catalogue of Baroque rarities on Brilliant Classics. The music of Conrad Friedrich Hurlebusch (1691-1765) has featured on a few enterprising collections of Baroque-era rarities, but this is the first-ever album to be entirely dedicated to the art of a composer whose style successfully mirrors his cosmopolitan outlook. Having received initial tuition from both his father Heinrich - another organist/composer - and from a pupil of Buxtehude, Hurlebusch left his birthplace of Braunschweig and embarked on a journey around Europe that, for the first half of his career, took him to Hambiurg, Tuscany, Venice, Stockholm and many points in between. On a stay in Leipzig, he met Bach and his sons; CPE mentioned Hurlebusch in dispatches as an excellent keyboard virtuoso. Finally, in 1742, Hurlebusch settled in Amsterdam, as organist of the famous Oude Kerk. On his travels, Hurlebusch had become familiar with diverse Italian styles such as the work of Corelli and Vivaldi, but he also remained open to more recent developments such as the galant style of the 1730s and 1740s. Published in Hamburg in around 1735, the volume of harpsichord music recorded here by Fernando de Luca is an expanded reprint of a collection published two years earlier as the composer's Op.1. It has never been recorded complete, but it discloses a wealth of invention in an outward-looking, extrovert style which must have suited Hurlebusch's gifts as a performer: this is music designed to make an impression. The volume opens with an extensive set of variations on a minuet. There are five suites of dances - allemandes, courantes, sarabandes, minuets and gigues, such as we find in Bach's solo-instrumental suites - and several freestanding fugues and toccatas. Fernando de Luca has recorded extensively for Brilliant Classics, including recent volumes dedicated to Jean-Jacques Beauvarlet-Charpentier (96774), Pierre-Thomas Dufour (96771) and Pierre-Claude Foucquet (96772). - Conrad Friedrich Hurlebusch (1691-1765) was born in Braunschweig (Germany) and died in Amsterdam. He received his first education from his father Heinrich Lorenz Hurlebusch, an organist and composer. One of his teachers was Buxtehude's pupil Johann Anton Coberg. As a keyboard virtuoso but also as a conductor, he devoted much time to tour through Europe, settling for relatively short periods in Hamburg, Vienna, Venice, Rome and Stockholm. During his 10 year stay in Hamburg he met Johann Sebastian Bach and his children in Leipzig. Carl Philipp Emmanuel Bach, the second born, mentioned him as an excellent keyboard virtuoso. In 1742 he definitively settled in Amsterdam, having obtained the position of organist at the Oude Kerk, the oldest in the city, an office which had been held in the past by Jan Pieterszoon Sweelinck and which he occupied until his death. He became one of the protagonists of Amsterdam's musical life and in 1743 he was granted Dutch citizenship. Due to his cosmopolitan background, Hurlebusch was familiar with many Italian musical styles (Arcangelo Corelli, Antonio Vivaldi), but he also remained open to more recent developments such as the Galant style of the 1730s and 1740s. - This new recording presents the two-part "Compositioni musicali per il cembalo, 1735" here recorded integrally by Fernando de Luca, consisting of five suites, five fugues, two toccatas and some variations, showing the composer at ease with the forms in use at the time and mixing French and Italian styles seamlessly. - Played on a French harpsichord after Blanchet (1754) built by C. Caponi (1985) by Fernando de Luca, one of Italy's foremost harpsichord players. He recorded to great critical acclaim the complete keyboard works by Graupner, Jollage, Dufour and Moyreau, published by Brilliant Classics. His recording of works by Jollage received 5 stars in the French Diapason.

Polyphonic Dreams, Busoni II Victor Nicoara, piano After moving to Berlin in 1894 Busonis reputation as a pianistic titan was cemented: his encyclopaedic piano recitals, caused a stir with audiences and critics alike. His compositions were also starting to garner some notice as well as bemusement - Busoni, not neatly subscribing to any of the major musical camps from the turn of the century, was as difficult to categorise then as he is now. Astonishingly well read and cosmopolitan, Busoni t

The original 1971 Merry-Go-Down LP on Unicorn Records was the brainchild of the late Fred Tomlinson, former chairman of the Peter Warlock Society, to showcase Peter Warlock's extraordinary range of musical and literary knowledge and achievements. The Peter Warlock Society and Convivium Records consider the content and performances of the pioneering LP to be of such a high standard as to require re-release, and have facilitated it's reproduction on this delightful CD. Michael Graves, Chairman, Peter Warlock Society

Imagine you are going on an imaginary journey with stops amid a series of soundscapes - landscapes in sound. This collection by Bulgarian pianist Marija Jankova Noller packs 26 tracks from around Europe across two magnificent CDs.