Recorded in Perugia between 2023 and 2025, a major new set of Schumann's song output for mixed voices - vocal duets, trios and quartets - by a fine team of Italian singers, and led by the pianist Filippo Farinelli. In recording previous, adventurous surveys of the songs and chamber music by Ravel, Berg, Dallapiccola, Hindemith and others, the pianist Filippo Farinelli has demonstrated his deep knowledge of and affinity for a wide range of chamber music. As he does here, he has gathered together a carefully selected cast of singers in order to present both rarities and established masterpieces within the catalogues of these composers, shedding new light on their evolution as creative thinkers and musicians. The solo song output of Robert Schumann is well established among the peaks of the rich heritage of German Lieder. But alongside cycles such as Dichterliebe and Frauen-liebe und -leben, Schumann often returned to the combination of mixed voices, and these cycles are much less familiar to most listeners. Many of them catch the composer at his most genial and Biedermeier in tone, such as the female Duets Op.43 and the Madchenlieder Op.103. The Spanisches Liederspiel Op.74 and the Spanische Liebeslieder Op.138 are strikingly under-rated precursor to Hugo Wolf's Spanisches Liederbuch, in which a group of singers take turns their individual turns (in solo or duet) to outline 'sketches of Spain' from a German perspective (and from one who had never been there), full of charm and grace. The Op.79 Liederalbum fur die Jugend likewise reminds us of Schumann's genius for song-melody at it's most artless, a vocal counterpart to piano cycles such as Kinderszenen. The poet Emanuel Geibel had adapted many of the 'Spanish' texts, and Schumann's Op.29 trio of songs based on texts by Geibel catch the authentic spirit of the German wanderer. Here and elsewhere throughout the set we find Schumann's affinity for the world of fantasy and fairy tale. Lieder collectors will find this new set an essential acquisition, but anyone new to Schumann's song writing will find much to delight them. - Robert Schumann (1810-1856) devoted himself to composing Lieder at different periods of his life, especially in the 1840s, the so-called Liederjahr, and in his later years, starting in 1849. Alongside Lieder for solo voice and piano, he composed numerous duets and some Lieder for three and four voices, either in homogeneous collections, or by including a few songs for several voices in collections of solo Lieder. - This highly valuable 4-CD set of new recordings contains the complete songs for multiple voice and piano, on poems by Geibel, Heine and Ruckert, but also a substantial part of folk songs, drawn from the rich German culture of folk literature and poetry. - Sung by Elisabetta Lombardi (mezzo-soprano), Elisabetta Pallucchi (contralto), Valentina Valente, (Mark Milhofer tenor) and Mauro Borgioni, accompanied on the piano by Filippo Farinelli, the indefatigable champion of important song projects of lesser known repertoire.

This album strives to understand the varying ways composers comprehend grief, loss and death. How did they cope, their hearts broken, their peace gone? And how can we cope? In this combination of works Weiss has tried to follow the paths these great composers walked in their own grief. Their tracks lead us from death back towards life, from horror to hope. Of his Arc album series, Orion Weiss explains: ‘The arc of this recital trilogy is inverted, like a rainbow’s reflection in water. Arc I’s first steps here head downhill, beginning from hope and proceeding down to despair. The bottom of the journey, Arc II, is Earth’s center, grief, loss, the lowest we can reach. The return trip, Arc III, is one of excitement and renewal, filled with the joy of rebirth and the anticipation of a better future.’

In the opening Allegro con brio movement of the Piano Concerto No. 2, Beethoven follows Classical rules, concentrating on the two principal subjects of a double exposition—orchestra first, the soloist next—then a development section, and finally, a recapitulation. The main themes in their cheerful confidence are distinctly Beethoven’s. However, their working out is clearly influenced not only by Haydn but also by the recently departed Mozart. The middle movement—Adagio, in E flat major—hints at the slow movement of the Fourth Concerto to come a decade later. It is, in effect, an accompanied fantasia that resembles a carefree theme and variations, with an attention-getting solo recitative-like passage at the end. The twice-rewritten finale, Molto allegro, combines sonata and rondo forms, with perhaps the nicest surprise of all saved for last: a brief solo rumination which the orchestra brusquely interrupts with a terminal tantara. Mozart may have been his model, but the spirit here is pure young Beethoven.

Far from any kind of drama, the first movement of Ravel's G Major Concerto emphasizes joy, elegance, and cheerfulness. It all starts with a crack of a whip! Ravel sets out five thematic figures with Spanish influences and glissando-like jazz sounds; “circus-like elements” are also particularly evident in his extensive use of percussion. The Adagio offers the greatest possible contrast to this. The movement is characterized by simplicity and discretion. The final movement, Presto, abruptly tears the listener away from the melancholy mood. The music unfolds at a breathtaking speed, defined by circus-like percussion. The piano-playing is determined by frantic activity, indeed, by breathlessness. The motifs are sometimes onomatopoeic, now and then syncopated, at times march-like and grotesquely distorted, but always tempestuously pressing ahead until the fanfare from the beginning abruptly ends the work.

This symphony is the creation of a giant, and it surpasses all of the master's other symphonies in terms of it's spiritual dimension, it's fearsomeness, and it's grandeur. It's success is almost unprecedented, despite the most ominous warnings of a variety of Cassandras, and that includes several close colleagues. The work was a complete victory of light over darkness, and the storm of enthusiasm which broke out with elemental force when the individual movements had faded away was mighty. In short, it was a triumph that a Roman emperor could not have wished for more beautifully. (Hugo Wolf)

Joining forces again for their second album on Signum Classics, duo JULIAN BLISS And JAMES BAILLIEU perform works by composer giants Clara & Robert Schumann. Many of the tracks on this recording are new arrangements by Bliss himself, and world premiere record- ings.

Helen Habershon is both an accomplished performer and also an inspired composer of music which often evokes nature, or human emotions and sensibilities. Her first two albums have been highly praised and were Album of the Month and Album of the Week on Classic FM (UK) respectively. Her album ‘Found in Winter’, released in 2019, has been aired by Classic FM ever since. Helen had an established performing career until a serious injury led her to turn to composing, but she is now once again able to perform. Here she teams up with the successful pianist and arranger John Lenehan, who has appeared on over 70 recordings including several solo albums for Sony. It follows their March 2022 release ‘Found in Dreams’ – a collection of romantic lighter pieces, where Helen and John offer a wonderfully diverse collection of repertoire. This includes beautiful arrangements of some of their favorite pieces; a couple of short movements from the Brahms and Finzi works played in full on the new album, and some delightful new compositions of their own. As grand master of the high Romantic era, Brahms and his first Clarinet Sonata need no introduction. Here, that work is partnered by two songs and two of his Intermezzi, all arranged by John Lenehan for clarinet and piano. As counterpoint we have the Five Bagatelles by Gerald Finzi, a composer in the English post-Romantic pastoral tradition (with Vaughan Williams, Delius etc). Written in 1940 they are simply enchanting, delightful pieces – perhaps not in the modernist fashion of the day but which will prove enduring despite the composer calling them ‘only trifles’.

Anyone who entitles an organ piece a Grand Pièce Symphonique should not be surprised if this very title one day is used as a benchmark to determine the legitimacy of this claimed attribute. This is exactly what the organist, composer, and pedagogue Zsigmond Szathmáry did at the behest of his young colleague Christian Schmitt when he examined the orchestral possibilities of César Franck's "great symphonic work". The result of this exploration gives us the world premiere of a concert piece in which the king of instruments and it's personified registers - i.e. The orchestra - form a captivating synthesis. Next to Franck's well-known tone poem Les Éolides (The Daughters of Aeolus), the programme includes a rarely recorded work by Charles-Marie Widor - a Walpurgis Night that easily rivals the most famous witches' dances in the Romantic literature.

Volume 68 in the Liszt Complete Piano Music series features transcriptions of dance works by illustrious colleagues such as Smetana, Weber and Raff, amongst others. The pianist on this volume, Steinway Artist Wenting Shi, has received numerous prestigious awards and accolades throughout her career.

A quest for absolute music Despite a number of setbacks, Bruckner's music has prevailed. His struggle for form and perfection was an expression of his deepest artistic conviction and an inner mission. Like Beethoven, he strove for 'absolute music': a soundscape beyond mere expression that speaks for itself. His Third Symphony in particular, the one 'where the trumpet begins the theme', is an impressive testimony to this aspiration, and it still moves us today: powerful, timeless, and true." Gerd Schaller

French music specialist, Jean-Luc Tingaud, conducts a selection of Faure's secular choral and theatrical music - works that remain relatively little known. Setting a text by Victor Hugo, Les Djinns is heard in Faure's version for choir and orchestra, while his first venture into incidental music, Caligula, focuses largely on the lives of the women in the Roman court rather than the Emperor. Featuring both instrumental and vocal movements, Masques et bergamasques evokes the Arcadian allure of the French fête galante style - antique, luminous and nostalgic. Also included is the premiere recording of Desire-emile Inghelbrecht's inventive and sympathetic arrangement of Faure's largest piano work, the Theme et variations.

Anton Bruckner is most impressed by the instruments made by Cavaille-Coll.

“Bohemian Stories" encapsulates an intimate introspection of some "musical tales" from the Bohemian Romantic chamber music repertoire for violin and piano. In the 19th century we are spectators to an awakening of national consciousness that spreads to literary salons and theaters through the tendency of musicians to want to emancipate themselves from the ways of the hegemonic musical art, through a revaluation of popular heritage, highlighting characters of different historical-musical traditions. Freedom, independence, political autonomy, love of country and the security of one's own identity are the main driving forces of this era. The intent of the musicians of this era is to create a style that will elevate the country's musical language to a musical language of art, infusing it with new elements and an authentic national "character." In Bohemia, then included in the Habsburg Empire, this nationalist movement has a particular intensity, and by the late nineteenth century one can speak of a true "Czech style."

Among the earliest composers devoted to the exaltation of the particular pitch of the Czech melody we have Bedrich Smetana: a style of descriptive music writing in which he tells stories inspired by national legends, very remote historical events, natural landscapes, folk motifs, and rhythms of village dances. The other distinguished representative of Czech music of the second half of the 19th century is Antonín Dvorák, who enriched his vast musical output with elements drawn from the folk heritage not only of the Czech but also of other Slavic peoples (of Slovakia, Moravia, Ukraine, Russia). Leoš Janácek, that poor professor of music in the Moravian province, with a life without any great adventures or illustrious acquaintances, without too much travel and without recognition until the age of sixty where he totally identified with his inner self and his worldview. And the long story of this life of artistic struggles is told by him through his musical work. A hereditary prince of A. Dvorák, Josef Suk is a proponent of a particular nuance of late Bohemian Romanticism that is distinctly coloristic, stretching harmony to the utmost to create a more creative and personal style. Unlike his compatriots, he does not include too many references to traditional Czech music in his compositions.

'Raptly revelatory and deeply communicative' (Fanfare): the earlier volumes of this Beethoven sonata cycle by Giovanni Bellucci have received an enthusiastic welcome in the international press, for the Italian pianist's depth of insight and his individual, dynamic response to this 'New Testament' of the keyboard. Now the newly recorded late sonatas are added to the previous two volumes to present a modern cycle, at a super-budget price, to set alongside distinguished pianists of former generations. The recordings have been made in the superb acoustics of the Salle de Musique at La Chaux de Fonds in Switzerland - the source of several previous and notable Beethoven recordings such as Claudio Arrau's late and magisterial address to most of the sonatas, on Philips. For this recording, Bellucci himself has acted as recording producer, assisted by sound engineering from Fabio Ferri, and the result is a sonata cycle of remarkable interpretative integrity, tracing in the most vivid terms Beethoven's evolution as a composer, from 18th-century rebel to 19th-century visionary. In this way the new set joins Bellucci's recordings of the nine symphonies as transcribed by Liszt, and the piano concertos, as a complete and artistically satisfying portrait of the composer. This box of sonatas is enhanced by an extensive introduction to the oeuvre by Bellucci, who discusses Beethoven in biographical and spiritual as well as musical terms. 'What exactly is the momentous decision that must be addressed by anyone wishing to perform Beethoven in the 21ist century?' asks Bellucci. 'In my view there can be no neglecting the life-giving flexibility of rhythm, a pliancy that eludes codification. Such flexibility calls for a deep understanding of musical syntax as well as perfect psychophysical coordination' - and in this regard he places himself in a distinguished interpretative tradition leading back to Artur Schnabel. The critics have agreed: 'Bellucci has a way through his approach to rhythm that makes the music inhale and exhale, rise and fall, in a totally natural way.. [that] transcended considerations of technical execution, the exquisite tone Bellucci draws from his Model D Steinway, and the exceptionally beautiful recording.,' (Fanfare). - This 9-CD set marks the completion of the Beethoven Piano Sonatas by Giovanni Bellucci. - Bellucci's Beethoven is highly personal, yet deeply searching for the meaning of the notes. His playing is free, with a strong sense of rhetoric and improvisation, adhering nevertheless strictly to the score and it's intentions. The result is fresh, exhilarating and illuminating, letting us marvel at the originality and genius of the music. Bellucci's humane vision of the music relates to Beethoven's own statement: "From the heart, may it return into the heart". - "Exhilarating, brilliant.never a dull moment.grandiosity of vision.", as Fanfare wrote enthusiastically. - Giovanni Bellucci is one of the most interesting and extraordinary pianists of today. Described by Piero Rattalino as "a force of nature, vast and palpitating", his playing is highly original, striving to recreate the original impact of the works he is playing: "he takes us back to the Golden Age of the Piano" wrote Le Monde. - His recordings, notably with works by Liszt, were showered with prizes such as Diapason d'Or, Choc, Editor's Choice, CD Maestro etc.

As the Italian pianist Giovanni Bellucci remarks in an extensive booklet introduction, this album is the fruit of study over the past 20 years and more, into the worlds of both Beethoven and Liszt and their meeting point in these transcriptions where the Hungarian composer sought to honor his forebear as the original leader of an artistic movement we now think of as Romanticism, where the composer places himself at the front and center of his works. Liszt’s transcriptions diverged from the ready-made arrangements which publishers rapidly produced and reprinted to meet the demands of amateur and domestic audiences. Here, the symphonic world of Beethoven is not merely experienced as a distant echo but translated into the idiom of the virtuoso piano which swept across Europe during the latter half of the 19th century, led by Liszt and Clara Schumann. Thus in these performances, Bellucci seeks a kind of fidelity to the Romantic age of the transcriptions rather than the Classical age of the original works.

Taking broad tempi and probing deeply into textures which, after all, condense the soundworld of an entire orchestra into the span of ten fingers, Bellucci presents an individual and compelling new vision of works which renew themselves at the hands of each new generation’s interpreters. The cycle reaches its climax with the Ninth, recorded live at the2014 Lisztomania Festival in France, with the participation of the Czech Philharmonic Choir of Brno and soloists Hana Škarková, Lucie Hilscherová, Michal Lehotský and Martin Gurbal. Other studio sessions have taken place in the famous Salle de Musique at La Chaux de Fonds in Switzerland, between 2018 and 2021.

Three Violin Sonatas - Medtner, Grieg, Franck

The third and final instalment in their award-winning series, the Calidore Quartet return with a three-disc release of Beethoven Early Quartets. Their previous Beethoven recordings have been described as 'highly collectible' by BBC Music Magazine. The first album of Late Quartets won the Chamber Music Award at the BBC Music Magazine Awards 2024, and the second awarded Recording of the Month by Gramophone Magazine. The contents of this recording project serve as a snapshot of their fourteen years of working, growing, listening and collaborating together. "Our interpretation speaks to the influences of our teachers and the great traditions associated with this repertoire, but also to that of our own generation, contemporary research, style and experience. Though this music speaks in a language that is hundreds of years old, it's message remains immediate, relevant and comforting to listeners of today and of generations to come even, and especially, in the most challenging of times". Their interpretations of Beethoven are already critically acclaimed with performances at the Lincoln Centre planned as part of their residency.

‘It is simply a badge of historical injustice that oboists must wear.’ Such was the lament of Leon Goosens, echoing the commonly-held view that the nineteenth century was a time of crisis in the history of the oboe. Like a snowball effect, the idée reçue that the instrument fell into disuse because it was considered incompatible with the aesthetics of Romantic expression has been handed down across generations. This recording unearths a handful of evocative compositions from early nineteenth-century France to provide a reassessment of this commonly-held view. These works, all of which have never been recorded before, belong to a large corpus of neglected nineteenth-century chamber music for oboe and fortepiano, and bear witness to a lively, dynamic tradition of wind playing in France. Performed here on a ten-keyed French oboe by Guillaume Adler (Paris, c.1835) and a fortepiano by Erard (Paris, 1840), these sentimental and lyrical rarities beautifully highlight the unique timbres and playing characteristics of these rare original models.

Internationally celebrated as both a soloist and conductor, Florian Krumpock has more than proven his outstanding capability in the international concert scene. Appointed as one of the youngest music directors in German history in 2011, Krump. Ck characteristically masters a broad variety of opera and concert literature as well as a wide piano repertoire, and particularly enthralls his audiences with his double role as a soloist and as a conductor. "Forget Lang Lang and Arcadi Volodos. There are highly virtuoso keyboard tigers in Austria, too", was the verdict of the daily newspaper Die Presse on the pianist's solo debut at the Vienna Konzerthaus. The son of a cellist and an art historian, Krump. Ck counted Rudolf Buchbinder, Gerhard Oppitz and Elisabeth Leonskaja among his teachers at an early age, some of the most important pianist personalities of our time. Sir Peter Ustinov presented the young musician to a wide audience early on. After an audition, no less a person than Daniel Barenboim judged him simply "a wonderful pianist" and thus paved the way for a promising international career.

The special vibrations that the Hohenstaufen Chamber Music Festival generates are directly audible in the contents of this anniversary CD box, which consists solely of live performances. The choice of music ranges far and wide through all periods and genres: from Johann Sebastian Bach through key works of the Viennese Classical school and the German Romantics to French Impressionist compositions and classics of the Modern era. There are jazz numbers and contemporary works too, a further pointer to the ethos of the Hohenstaufen Chamber Music Festival, which does not call for tradition to be upheld on principle but aims at a constant rediscovery of the world and it's inhabitants through their sounds and timbres, no matter whether they come from "old" or "new", "serious" or "light" music. Hohenstaufen doesn't pigeonhole things like that; it believes in taking your partners to make "good" music. Music is good, quite simply, when it moves us, uplifts us, challenges us. "Music must never be comfy," to quote the pithy conclusion that Helmuth Rilling, to whom the Festival is greatly indebted, once drew. "It must stir people, touch them personally, give them food for thought." If the pieces brought together here can achieve this, the Hohenstaufen Chamber Music Festival will have received the biggest twentieth birthday present it could have.

The French baritone Florian Sempey has established himself as a key player on today’s operatic scene. For his first solo recital, Rossini was the obvious choice, first of all because he has already performed the title role in Il barbiere di Siviglia in the leading opera houses, from Paris to London, and of course by way of Orange and Pesaro. But there is another reason: ‘Rossini was the first composer’s name I heard in my life. At my grandparents’ house, there was a bust above the piano, on a little rococo display stand’ – the bust that appears on the cover of this album. ‘Rossini’s music is a challenge for singers and also a great and very strict technical training for them. It calls for the highest standards and degree of precision.

This program presents arias in French and Italian, mingling the most famous (including Figaro’s ‘Sono il factotum’) with rarities such as Germano’s aria from La scala di seta and Don Parmenione’s from L’occasione fa il ladro. It also includes magnificent duets with two dream partners, Karine Deshayes and Nahuel Di Pierro. And who better to conduct the Orchestre de l’Opéra National Bordeaux Aquitaine than the accomplished Rossinian Marc Minkowski, who gives this music an inimitable sparkle?

Of Paganini's fifteen quartets with guitar only six were published during his lifetime. They represent his finest body of chamber compositions as can be heard in the three quartets for violin, viola, guitar and cello, Op. 4. Of them, No. 3 in A major is a masterpiece, with French-styled inspiration, rich lyricism and piquant invention, while the virtuosic, almost concerto-like No. 8 in A major embodies his quatuor brillant writing, with it's Rossinian resonances. No. 12 in A minor is the most 'symphonic' of the three, containing formal originality, one of the most moving of Paganini's slow movements, and his most serious-minded finale.

Chorus sine nomine, founded in 1991 by Johannes Hiemetsberger, is one of the most distinguished and innovative concert choirs in Austria. On this CD, the choir presents motets by Anton Bruckner. Bruckner simply called them sacred choruses, as the reason for their composition can usually be traced back to a liturgical occasion. The six works on the CD correspond to such liturgical interludes: Graduale (Christus factus est, Locus iste, Os justi, Virga Jesse), Offertorium (Ave Maria) and a hymn for the Good Friday liturgy (Vexilla regis). As an organist, Bruckner was admired above all for his improvisations. He was particularly admired for his high contrapuntal skills, in which he demonstrated his craftsmanship in fugue and imitation. The style of the fugal parts of his improvisations was based on Baroque patterns (such as Handel), while in other, more imaginative parts the tonal language of his organ playing became increasingly typical of Bruckner. Martin Haselbock establishes this connection to Bruckner with his organ improvisations.

The late eighteenth century witnessed an explosion in the number of works written for multiple pianists, most of them for two players using one instrument. The majority were predestined for the domestic market, social gatherings or for pedagogical purposes, but some, including the two works featured on this album, were intended for performance beyond the salon and ventured into the realms of virtuosity. The genre was to blossom further as a pedagogical tool by which generations of pianists became acquainted with the larger-scale, mainstream repertoire via transcriptions and arrangements of symphonies and other orchestral works, operas and chamber music.

ANTON BRUCKNER (1824-1896) - Symphony No. 7 in E major Arrangement for ensemble by Hanns Eisler, Erwin Stein and Karl Rankl During the coronavirus pandemic, when large symphonic performances were almost impossible due to contact restrictions and social distancing rules, the ensemble wanted to enable people to experience the depth and spirituality of Bruckner's music despite the social distancing and isolation restrictions. While there are normally around 80 musicians on stage when Bruckner's 7th Symphony is performed, the Stuttgart-based Ensemble Balance performs the work with just 11 instrumentalists, the result being that this condensed chamber music remains a unique experience, even without the pandemic! And this is because it is precisely in this concentrated, emotionally condensed form that Bruckner's compositional artistry becomes seductively clear and audible! The in-depth exploration into his work during the rehearsals for this recording in August 2020 had the effect of welding the ensemble together in both an artistic and a personal way, and this intimate connection between each and every musician, combined with the spirit of Bruckner's composition, can be clearly felt and heard in this performance by Ensemble Balance.

When the first bars of Schubert’s “Unfinished” Symphony reached the recording equipment in March of 2018, it wasn’t merely the musicians’ “daily grind” but rather the birth of an ensemble: the chamber orchestra Klangkollektiv Wien. The mission of the Klangkollektiv Wien is to perform the music of the Viennese Classical era with care and love, beyond more routine. This is why we - musicians from all of Vienna’s orchestras - came together for the first time. This music, which was at the onset of the development of the modern orchestra - with which we handle a diverse program of works from all different eras every day - becomes ever more an oasis of tranquility through its clear form and inner beauty, the epicenter of our lives as musicians. Our goal is to give these works the attention they deserve, to communicate their message to listeners. This first document of our common passion came about in collaboration with the conductor Remy Ballot and the record label Gramola, who were involved in this project’s development from the very beginning.

SOMM Recordings announces a major new release: the first appearance on album of live performances of Tchaikovsky’s Fifth and Sibelius’ Second Symphonies by the iconic conductor Serge Koussevitzky and the London Philharmonic Orchestra. This historic, two-album set includes an exclusive, specially-commissioned documentary about Koussevitzky’s Boston Symphony Orchestra tenure and his LPO guest appearances, featuring interviews with four key players from both orchestras by Jon Tolansky. Tolansky’s revealing hour-long documentary includes wide-ranging musical excerpts and contributions from former BSO players Harry Ellis Dickson (violin), Everett ‘Vic’ Firth (timpani), and Harry Shapiro (sub-principal horn), and erstwhile LPO sub-principal horn Patrick Strevens. The symphonies are heard in performances Koussevitzky conducted with the LPO in London’s Royal Albert Hall in 1950. Both have been expertly restored by Lani Spahr. Noted authority on historical recordings Rob Cowan provides detailed booklet notes on the “individual, flexible, flammable, emotionally candid and utterly spontaneous” Koussevitzky’s stewardship of both orchestras. He describes the Tchaikovsky as “especially unique [in] its unsparing volatility.... The explosive climaxes leave the audience stunned”. Of the Sibelius, he says: “Koussevitzky’s London Second is as comprehensive an overview of the work as we have”.

Lani Spahr’s previous restorations for SOMM include the four-disc Elgar Remastered (SOMMCD 261-4) featuring recordings from the composer’s own collection, hailed by Audiophilia as “a fascinating achievement which will have you wishing for more”. George Szell: The Forgotten Recordings was a Gramophone Editor’s Choice and awarded a Diapason d’Or as “a major discovery”. Jon Tolansky is the founder of the Music Performance Research Centre (now Music Preserved) and a widely admired producer of audio documentaries on classical musicians. For Spahr’s restorations on Beecham Conducts Sibelius, he produced a 30-minute audio documentary. MusicWeb International declared it “an unmissable disc [that] walks straight into a position of eminence in the catalogue”.

Louis Lortie's programme for this eighth and final volume of Chopin spans the composer's entire career, from the teenage Rondo, Op. 1 through to his final published piece, the Cello Sonata, Op. 65. Inspired by a visit to the estate of Prince Antoni Radziwill in 1829, the Introduction and Polonaise brillante, Op. 3 was written for the prince (a keen cellist) and his pianist daughter Wanda, and was published in 1831 in Vienna, shortly before Chopin's move to Paris. Variations brillantes, Op. 12 was based on the theme 'Je vends des Scapulaires' from the (now long-forgotten) opera Ludovic. Single-handedly responsible for establishing the popularity of the mazurka, Chopin wrote almost sixty of these works in his lifetime. The two sets here date from 1842 (Op. 50) and 1844 (Op. 56) whilst the composer was at the height of his powers - and popularity in the salons of Paris. Chopin struggled with the composition of the Cello Sonata, taking two years, from 1845 to 1847, before finally premiering it at his last public concert, in Paris, on 16 February 1848. He was striving to find a 'new style' in his composition, whilst at the same time struggling under failing health and the breakdown of his long-standing relationship with the novelist George Sand. His perseverance paid off, and the sonata remains a cornerstone of the repertoire.

The recording of this Chanson du vent is a celebration of Adolphe Biarent. This greatly neglected composer emerged from the shadows thanks to three album releases by Cypres. The cycle of Huit mélodiesfor mezzo-soprano completes this process aiming as it does to highlight an exceptional musical personality through world premiere recordings. Such an action can only work when based upon the total dedication of thoroughly committed performers who enhance a program inspired by the musical Orientalism, or artistic fascination with Middle Eastern, North African, and Turkish cultures, in vogue at that time.

The programme on this CD begins and ends with transcriptions of works by Beethoven. The first piece is the Allegretto (2nd movement) from Beethoven’s 7th Symphony in the arrangement by Franz Liszt, and the programme ends with a solo piano version of Beethoven’s song An die Hoffnung, created especially for this CD. The two pieces form a framework of sonorities and emotions that set the basic mood for this musical journey. The Allegretto serves as a prologue: it looks ahead, indicating the direction we shall be taking. At the other end of the programme, the song transcription serves as an epilogue: it looks back, taking stock of all that has occurred. On the one hand, there is a somber mood that runs through the entire programme: we find it in the Allegretto’s passages in minor, in the Schumann variations, in the third movement of the Beethoven sonata, and in the recitativo-like passages of An die Hoffnung. These are complemented by episodes of light: the A-Major sections of the Allegretto, the first, second, and fourth movements of the sonata, and, ultimately, the hopeful, optimistic sonorities we find in the song transcription with the final cry: “O, Hope!” (Aris Alexander Blettenberg)

Vienna, Vienna, just you, and you alone Because Vienna was the capital of music, at least in the 18th century, many pieces were not only premièred there but were also immediately musically adapted there too. There are a variety of ways of engaging fruitfully with the musical works of others, to a greater or lesser extent. One option might be an arrangement, i.e., the adaptation of a composition for a different combination of instruments than originally intended. Entire operas could be arranged for piano, for example, and so find their way into aristocratic salons or bourgeois living rooms. The 19th century also saw the development of the paraphrase, a freely embellished arrangement of popular themes from operas, often in the form of a concert fantasia written for the piano. These also included the variation, or, to be more precise, the series of variations, which took a well-known melody as a model and altering it to a greater degree in each variation, whereby the tempo and key can also change.