It is impossible to imagine the modern bassoon without him: almost 200 years ago, Carl Almenrader, together with Johann Adam Heckel, founded the instrument-making workshop that continues to dominate the global bassoon market unchallenged to this day. Almenrader's skill on the instrument, his refined sense of tone, and Heckel's precision craftsmanship laid the foundations for the success that Almenrader carried out into the world as a travelling virtuoso with his own compositions. Michael Kaulartz and Carl Sonje Montag present Almenrader's duets in an impressively agile, virtuosic and yet surprisingly rich and varied manner.

On her Cantaloupe debut, Rebekah Heller explores the full range of capabilities of the bassoon-not just as a solo instrument, but also, through careful and precise multi-tracking, as a percussive and regenerative source of sound that suggests infinite musical possibilities. The album opens with a blistering take on Julius Eastman's legendary The Holy Presence of Joan d'Arc, which Heller arranged for ten bassoons based on the painstaking transcription of Eastman's 1981 live performance at The Kitchen (NYC) by cellist and composer Clarice Jensen. From there, Steve Reich's original Cello Counterpoint is reworked into Grand Street Counterpoint-again, for ten bassoons, with bassoon soloist-with Reich himself collaborating as co-producer. Heller also commissioned three composers, all of whom have explored the modern intersection of avant-garde, jazz, experimental, and classical music, to contribute their distinctive voices to the project. Jessie Cox's Sonic Cartographies and Fay Victor's Nurture (for Ingram) both tap into a wellspring of deep inspiration (with Cox drawing from his fascination with sound and movement, and Victor from her poignant memories of jazz musician Ingram Washington), while Green's piece Righteous Rage gives the album it's title: a fiery and fierce exposition on the world we're leaving for the next generation.

The Rieger organ recently installed in the Musiikkitalo (Music Center) in Helsinki is the largest modern concert-hall organ in the world. In it's first-ever solo recording Jan Lehtola puts the instrument through it's paces. His unusual programme consists of nine sets of variations on Christmas melodies by four French composers, one Franco-Lebanese and an Englishman using what is probably the only well-known Ukrainian tune. The meeting of old and new in these variations shows off the splendours of the new instrument, the virtuosic writing ranging from gossamer delicacy and sumptuous harmonies to statements of colossal power.

The Swiss-Franco-American virtuoso, Céleste-Marie Roy, elevates the sonorous splendour of the bassoon to vibrant new heights with her flexible tone, technical finesse, and striking interpretation of melodious and highly virtuosic works from the 20th and 21st centuries.

July 2026, Metier presents David Hackbridge-Johnson's A Pocketful of Tunes, a collection of fascinating works for solo violin and viola written for and performed by internationally acclaimed violinist Peter Sheppard Skaerved, resulting from their friendship and hugely creative collaborations. All the works are inspired by, written for and recorded on great historic instruments, bringing the past vividly alive. There are joyful dances and elegant suites evoking dance movements of the Baroque and Roccoco eras alongside works responding to modern life, a showcase of David Hackbridge-Johnson's wide range of techniques. Hackbridge-Johnson started attending Peter Sheppard Skaerved's London Church Concerts in 2019 and the two soon formed a friendship around shared passions of literature, history, and railways. Many pieces emerged from these concerts which stem from Peter's deep interest in violin composers, their lives and instruments and the buildings they played in. There are three works for solo viola, all recorded on the oldest known English viola, the extraordinary Rayman 1641: the sonic commentary on abandoned railways Three Disused Stations, the dance based Seven Versets and Three Preludes. All of these showcase the instrument's glorious dark woody tone. The Rayman was made in Southwark in 1641 at the time the 'south bank' became London's entertainment hub. Peter felt that "this instrument is a direct link, a portal even, to London's greatest theatrical age, to the thunderous musicks of Shakespeare, Webster, and even... Marlowe.." Six Preludes for Charles II were inspired by a London violin, the Charles II '1664', after hearing Peter play it at St Margaret Lothbury, the medieval church rebuilt by Wren after the fire of London. The 'Six Preludes' balances these various pasts and the present, forming a suite that could have been written by a composer of that time. On this recording the Preludes are played on a 1629 Girolamo Amati violin, as are all the works for violin on the album. Inspired by Peter sharing a comic story of 18th century violinist Will Rosin, who like Peter resided in Wapping, David wrote the Will Rosin of Wapping suite, with extracts from the Tatler Volume 1709 story read by David in between each movement. Some works were written in the span of less than 24 hours, including Alleyway, Pastoral, River Falls. On a visit to Wisconsin Peter shared a photo with David in the morning to which David spontaneously responded with a new work that Peter performed that night in a concert! Divisions on Mr Simons' Prelude was inspired by hearing the exquisitely melancholy F minor Prelude (1700) by the mysterious 'Mr Simons' at one of Peter's City Church concerts in 2021, after emerging from 18 months of lockdown. David felt "That beautiful F minor thread reaches out to us over the centuries" and he used the prelude as the basis for a set of variations. Playing for dancing was always a key function of the violin and was driven by developments in the ballroom, country-dance and hop. A Pocket Full of Tunes was inspired by a French dancing-master's piccolo violin, played here on a 'full-size' Amati. Violinist Peter Sheppard Skaerved is acclaimed internationally for performances and recordings of a vast range of solo repertoire from the late 16th century to hundreds of works written for him by major composers to the many young composers with whom he collaborates worldwide. David Hackbridge-Johnson is a multi-instrumentalist, conductor, recitalist and writer as well as composer. Among his 600 or so compositions are eighteen symphonies, over a dozen tone-poems and concertos, and hundreds of songs and chamber pieces. His most recent commissions have been operatic including Blaze of Glory!, written for the 75th anniversary of Welsh National Opera.

The organ works of Axel Ruoff, born in Stuttgart in 1957, constitute one of the most important contributions to the literature for the instrument by any composer since Messiaen. Stylistically, his music unites the French cathedral tradition of composers like Langlais, Dupre and Guillou with the concern with counterpoint and logic heard in Reger and later German figures. Ruoff uses the unparalleled resources of the modern symphonic organ not produce music of freewheeling energy and uncompromising power. (Volumes 1-5, TOCC 0567, 0596, 0610, 0672, 0709)

French organ music from the period of Louis XIV to the Revolution has always held fascination for performers and listeners alike. The kaleidoscope of colours, the rich and varied styles, and the sheer exuberance of the music never fail to captivate. Yet, performance practice of this music has never been fully understood. David Ponsford has spent much of his career studying this repertoire, resulting in his book French Organ Music in the Reign of Louis XIV (Cambridge University Press, 2011). The present series of recordings on the most important historical organs in France is therefore the fruit of many years of research by a seasoned performer whose aim is to combine technical brilliance with intellectual understanding, to bring the music alive with authority and meaning.

All the pieces I chose for this album grip me in a very direct way. On top of that, the fact that they immediately won me over when I first encountered them and now feel very close to me. This choice was therefore a gut decision, based on an emotional concept. The common thread lies in the immense will to express that all these works possess. Simon Tetzlaff about his debut CD

Harpist Anne-Sophie Bertrand presents Amalie's Cosmos, an evocative journey through the salons of 19th-century Europe. At the heart of Berlin's vibrant cultural life in the early 19th century stood Amalie Beer, a wealthy patron, intellectual, and matriarch of one of Europe's most influential musical families. While history often remembers her son, Giacomo Meyerbeer, as a towering operatic figure, it was Amalie's salon that cultivated artistic, scientific, and political discourse, supported composers, and encouraged the careers of remarkable women such as Fanny Hensel and Pauline Viardot. Amalie's Cosmos revives the spirit of these Berliner salons through a carefully curated programme of works that echo their creativity and curiosity. From the intimate lyricism of Fanny Hensel and Glinka to the exotic colours of Debussy's Estampes, the virtuosity of Parish Alvars, and the contemporary homage to Paganini by Nimrod Borenstein, the album traces a delicate thread through time, place, and influence. The result is a shimmering musical tapestry that celebrates memory, artistry, and the enduring power of the salon as a space for inspiration and dialogue.

A fascinating and still enigmatic figure, Anna Bon di Venezia was one of the few professional female composers of the 18th century to secure a place in European courts. A virtuoso, singer, and composer, her career unfolded across Venice, Bayreuth, and Nuremberg, where she published her three collections of works between 1756 and 1759. Little is known about her: the only definitive biographical details come from the dedications and title pages of her publications. Anna studied under Candida della Pietà, a viola teacher and former student of Antonio Vivaldi. Even in her early years, she was recognized as a talented musician and soon distinguished herself as a composer. The collection presented here, Six Sonatas for Harpsichord, op. 2, was published in Nuremberg in 1757 during Anna's stay at the court of Bayreuth. The sonatas are dedicated to Ernestina Augusta Sophia, Princess of Saxe-Weimar, who was Anna Bon's pupil before marrying the Duke of Hildburghausen. Annarosa Partipilo excels in her meticulous performance, playing a late 18th-century fortepiano.

Organist Lukas Hasler presents Gold, a radiant debut album featuring his own transcriptions and arrangements for organ. What began five years ago with a fascination for Mozart's G major Sonata in Edvard Grieg's two-piano version grew into an artistic journey into the transformative world of transcription. Hasler discovered in the organ an instrument capable not only of recreating orchestral and pianistic textures, but of reshaping them into something entirely new. To capture this vision, he turned to the iconic Golden Hall of the Musikverein in Vienna, whose expressive possibilities and glowing acoustics inspired both the selection of repertoire and the album's title. Gold offers a rich spectrum of colours and styles, from the jubilant brilliance of Bach's Sinfonia (in Dupré's vibrant transcription) to the tender intimacy of Schumann's Romance, recorded here for the first time on organ. Hasler brings theatrical flair to Lemare's arrangement of Carmen Fantasy, profound stillness to Beethoven's "Moonlight" Adagio, and symphonic vitality to Bruckner's Nullte Scherzo, while Mozart's G major Sonata - filtered through Grieg's imagination and Hasler's own artistry - bridges Classical clarity and Romantic warmth. Rachmaninoff's stormy Prelude, Lefébure-Wély's sparkling Boléro, and the playful, genre-bending Vienna Calling complete a programme that celebrates invention, personality, and the golden richness of the Viennese organ sound.

This first volume of The Complete Alkan Organ Works presents Joseph Nolan's recording of Charles-Valentin Alkan's major works for organ and pedal-piano, performed on the restored Stahlhuth-Jann organ of St Martin's Church, Dudelange. The release includes the 11 Grands Préludes and Handel transcription Op. 66, the Petits Préludes sur les huit gammes du plainchant, and the Impromptu on Luther's "Ein feste Burg", Op. 69. The booklet outlines Alkan's background, his distinctive position in 19th-century French music, and the technical demands of these rarely recorded pieces. It also documents the instrument's history and Nolan's long-term commitment to the project.

A compendium of North German organ baroque on 22 CDs with a total playing time of over 24 hours. Between 2005 and 2013, organist Friedhelm Flamme recorded the complete organ works of 38 composers, thus providing an almost complete overview of the oeuvre of this genre. In the 230-page booklet (German and English), the histories of the organs, including their dispositions, are described in detail. Short biographies of the composers and explanations of the recorded works round off this unique edition.

Beethoven's three Sonatas Op. 10, written between 1796 and 1798, mark a decisive step from the Classical clarity of Haydn and Mozart toward a bolder, more individual language. Each sonata displays a distinct character: the C minor No. 1 combines tragic urgency with structural concentration; the F major No. 2 reveals Beethoven's emerging humor and rhythmic invention; and the expansive D major No. 3 unfolds an unprecedented emotional and architectural scale, crowned by the visionary Largo e mesto. The unifying rhythmic motif of "short-long" pulses through the set, foreshadowing the composer's later dramas. Performed on an 1820 Conrad Graf fortepiano, Roberto Prosseda's interpretation restores the music's raw contrasts, speaking timbres, and anti-rhetorical gestures that modern pianos often smooth away. In his personal note, Prosseda explains how returning to these works on a historical instrument transformed his understanding of Beethoven's expression. The fortepiano's transparency, differentiated registers, and responsive mechanism invite a freer phrasing and more rhetorical, speech-like delivery. He aims not for novelty but sincerity-seeking to rediscover familiar music through it's original sound world. Prosseda is one of Italy's leading pianists with a distinguished career, celebrated for his complete Mendelssohn and Mozart recordings and for reviving the pedal piano. This Beethoven Op. 10 album follows his acclaimed Op. 2 set for Challenge Classics, continuing his exploration of early Beethoven on period instruments.

The arrangement of Albeniz's piano works for solo guitar, multiple guitars, and even guitar plus a melody instrument has a long tradition, beginning with Francisco Tarrega and Miguel Llobet as well as many other legendary guitarists. The arrangements and versions recorded here are not actually original arrangements but are compiled from a multitude of existing templates and suggestions from recordings.

With this highly virtuosic program, Volker Hemken demonstrates a wide spectrum of tonal possibilities for the bass clarinet and contrabass clarinet, as well as a great stylistic diversity in the works, almost all of which are composed for the soloist.

Bach's Cello Suites are his only works for solo cello but are central to the repertoire and remain unequalled in their expressive musical depth. Dor Gidon Amran, the virtuoso mandolinist who has recorded his own unique arrangement of Paganini's 24 Caprices on Dynamic (CDS8038), has now arranged Cello Suites Nos. 1-3 for the mandocello. This is a baritone instrument of the mandolin family, but much larger than a mandolin, whose strings are tuned exactly like those of the cello. Being played with a plectrum, the mandocello belongs to a very different sound world to the cello, offering a unique perspective on these great works.

David Matthews and Peter Sheppard Skaerved have been collaborating on a series of works for violin and viola for many years now, with Matthews setting Sheppard Skaerved formidable technical challenges, and Sheppard Skaerved surprising Matthews by finding a way to overcome the difficulties in his path. Behind all the pyrotechnics, this partnership is generating one of the largest, and most musically rewarding, body of compositions for violin and viola by any living composer. Many of Matthews' pieces record his experience of nature or offer tributes to friends, with the works heard in this third volume also tracing a journey from darkness to light.

Performer and scholar Vania Dal Maso has constructed an innovative programme exploring music for stringed keyboard instruments from the fourteenth and fifteenth centuries. Based on the study and interpretation of sources, both on the instruments' construction and musical interpretation, she explores the profoundly different sounds and tone-colours of the clavichord, hammered clavicymbalum and clavicytherium. The music ranges widely in forms and genres from across Europe, including music sourced from the oldest-known manuscript for keyboard instruments - the Robertsbridge Codex (c. 1320) - to create the widest possible stylistic panorama of keyboard music of the time.

Star pianist Pierre-Laurent Aimard presents Landler, a collection of delightful dances composed by Franz Schubert. Rustic and cheerful, these miniatures display a fascinating side of Schubert's musical persona. Their simplicity is deceptive, as these dances are frequently shaken up by Schubert's harmonic wandering soul, yet remaining lyrical, picturesque and tuneful. For Aimard, there is a kinship between Schubert's Landler and Kurtag's Jatekok, pieces that he often performs side by side, sharing a combination of playfulness and Modernism that also calls the great twentieth-century miniaturist Anton Webern to mind. By avoiding almost any repetition, Aimard evokes a sleepwalker's journey rather than a series of dances. 8717306260343 PNTA5187034.2 44281755 .00 19.99 .16 PENTATONE COMPACT DISCS CLASSICAL ORCHESTRAL & SYMPHONIC 05/24/2024 https://mediacdn.aent-m.com/prod-img/500/42/4327442-3147656.jpg 49 1 N DUTILLEUL,COLINE LUCIE VELLERE: THE MUSIC COMES AS IT LIKES... It is through a double CD that Musique en Wallonie is honoring the Belgian composer Lucie Vellere. When, in 1957, the jury (entirely male) of the International Composition Contest for Women Composers, organised by Grace Spofford and the American division of the Conseil international de femmes, awarded her a first prize, Lucie Vellere found herself, for the first in her life, in the public eye. She who had always cultivated discretion now aroused curiosity. Throughout her fifty-year compositional career, Vellere cultivated an art of the melodic line that one could liken to the curves of Art nouveau, which left their mark on many composers, among them the early Debussy of the Arabesques. While Franck and Faure are often cited as her aesthetic influences, the mature Debussy appears only as filtered through Jongen. Many of the references of pictorial, poetic and musical impressionism were adopted by the composer: the elements (earth, air, fire, water), landscapes, times and seasons (evening, moonlight, autumn), evocations of temporal or spatial distance (an indeterminate past, Antiquity, the Orient). Vellere strove also for a classical sobriety and sense of proportion. This recording highlights the composer's eclectic compositions, mixing work for voice and piano, string quartets and octets, women's choir and even piano music, a panorama of her compositions that will reveal several facets of her personality. 5425008325132 MUWA2513.2 45487293 .00 29.99 .43 MUSIQUE EN WALLONIE COMPACT DISCS CLASSICAL ORCHESTRAL & SYMPHONIC 11/28/2025 https://mediacdn.aent-m.com/prod-img/500/33/4455033-3445182.jpg 16 2 N HAGE,JAN LA SERENISSIMA - COMPLETE KEYBOARDS WORKS In 2001, under the umbrella title la Serenissima, Richard Rijnvos started a series of compositions dedicated to the city of Venice. This multi-year 'work-in-progress' currently includes seven compositions, the most recent two of which are the subject of this recording. Jan Hage is particularly known as an advocate and sought-after performer of contemporary organ music. In 2006 he received the silver medal of the Parisian Societe Academique Arts Sciences Lettres for his services to French organ culture. Jane Chapman is one of Britain's most distinguished classical harpsichordists. Her repertoire stretches from early music to contemporary avant-garde. Described in The Independent on Sunday as Britain's most progressive harpsichordist", and in the Guardian as "a fearless contemporary music performer" she is at the forefront of creating and inspiring new music for harpsichord.

Bach - Berio - Boulez: Marek svejkar's bold and brilliant debut The clarinet is one of the instruments with the broadest spectrum of sonic possibilities in terms of it's range of dynamics and pitches. It received the greatest attention during the era of Classicism both in solo parts in concertos and in the roles of a chamber music partner and an orchestral instrument. It had to wait until the 20th century for works featuring it's unaccompanied solo voice in it's full range of colours. Outstanding among the composers who created such works are two figures who fundamentally shaped musical thinking in the latter half of the 20th century: Luciano Berio and Pierre Boulez. Commemorating the 100th anniversaries of both men's birth, this recording covers their complete music for solo clarinet. Berio and Boulez sought new ways to organise music in time and space, and both took inspiration from poetry. Boulez gave symbolic expression to their quest: "It must be our concern... to jettison the concept of a work as a simple journey starting with a departure and ending with an arrival." One of the things that inspired Berio's idea of "polyphonic music for a monophonic instrument" were works by J. S. Bach. One of them, Partita in A minor for solo flute, is heard on this recording in juxtaposition with the modernism of the 20th century. The clarinettist Marek svejkar is a laureate of the Premier Prix from Paris's prestigious Conservatoire National Superieur, and he has been a winner of international competitions including events in Markneukirchen, Germany, and in Carlino, Italy. He has appeared as a soloist with the Czech Philharmonic and with Jiri Belohlavek, and having participated at the Karajan Academy of the Berlin Philharmonic, he is now enrolled at the Accademia Nazionale di Santa Cecilia in Rome under the tutelage of Alessandro Carbonare. The elite circle of European clarinettists is now within Marek svejkar's reach.

The illustrious French organ tradition is celebrated in this album of Toccatas and Meditations, including masterpieces drawn from across the repertoire. Charles-Marie Widor was the founding father of the French Organ School, and his Toccata from Symphony No. 5 is a cornerstone of the organ repertoire. The Meditation by his contemporary Louis Vierne is among the highlights of Romantic organ works. Durufle, Boellmann and Guilmant are also represented, as is a beautiful Ravel arrangement. They're played on the magnificent Grenzing organ at Bauernkirche Iserlohn by Dariia Lytvishko - a Ukrainian-born virtuoso and one of the most lavishly gifted organists of her generation.

Ahead of the 80th birthday of one of Britain's most singular compositional voices, this double album presents the complete organ works of Michael Finnissy a body of music as rich in intellectual depth as it is in imagination. Performed with careful nuance by acclaimed American organist Forrest Eimold, these works span over six decades and chart the evolution of a composer constantly challenging himself to think beyond presumed forms. At the heart of the collection are Finnissy's four Organ Symphonies: bold, searching works that pay homage to and wrestle with the legacies of Beethoven, Brahms, Bruckner and Mahler, while also evoking the French organ tradition of Vierne and Widor. "Why even write a Symphony?" Finnissy asks in a personal note for this release. "To explore and learn. To challenge oneself with the abiding presence of awe-inspiring history... to locate a rhetoric which fearlessly approaches the 'higher world of knowledge.'" From the youthful drama of ... ere the set of sun...  (written as incidental music for MacBeth in 1965) to the industrial solemnity of Blackburn (2022), the album presents not just a body of work but a kind of inner autobiography. The Hymn-Tune Preludes - transformations of Sacred Harp and Norwegian folk melodies - offer a striking contrast: intimate, harmonically volatile, and unhitched from convention. Even the earliest works here, like the student piece Xunthaeresis, reveal the seeds of a language already driven by risk and complex expression. Forrest Eimold, a formidable interpreter of 20th and 21st century keyboard music, brings dazzling technique and interpretive depth to this music. His command of registration, colour, and pacing allows each piece - from the vast landscapes of the symphonies to the epigrammatic preludes - to speak with clarity and conviction. Recorded on a range of instruments, including the organ of the UK's Blackburn Cathedral, this is a release release which anchors Finnissy's contribution to the organ repertoire as one of bold imagination and philosophical depth. It also continues Metier's retrospective celebrations for Finnissy's 80th year, with further releases to follow.

The fourth and final volume in Gilbert Rowland's acclaimed Froberger series completes the landmark recording project on specialist early music label Athene. This double album is the latest instalment of Rowland's authoritative traversal of the complete Harpsichord Suites by Johann Jakob Froberger - a composer of profound influence whose innovations shaped the very form of the Baroque suite later adopted by Bach and Handel. Praised for it's "glorious sound" and "energy and a good forward drive", the series has garnered widespread critical recognition. Recorded in the sympathetic acoustic of Holy Trinity Church, Weston, in October 2024, the album reunites Rowland with engineer John Taylor, whose audiophile-standard production has underpinned the previous volumes. Rowland's playing combines historical insight with expressive vitality, delivering performances marked by "impeccable clarity, flawless articulation, and period-perfect embellishments". His interpretations illuminate the elegance and inventiveness of Froberger's writing, making this collection an essential reference for enthusiasts and scholars of early keyboard music. This release is a vital addition for fans of Froberger, Bach, Handel, Scarlatti, and historically informed performances, offering both continuity for collectors and a compelling entry point into one of the Baroque's most fascinating keyboard oeuvres.

Flores de Musica pera o instrumento de tecla & harpa is the only known work of Portuguese composer Manuel Rodrigues Coelho. Printed in Lisbon in 1620 and boasting more than five hundred pages, Coelho's Flores de Musica is one of the largest music works printed in the seventeenth century. Celebrating the 400th anniversary of it's original publication, a new edition in three volumes has been published with the research being used to inform this major new recording series. Harpist and soprano Maria Bayley and clavichordist Marco Orsini-Brescia lend their artistry to this latest chapter in an ambitious recording project.

Friedhelm Flamme plays an extraordinary role in the organ catalogue of our record label. His discography, which ranges from the Baroque era to the 20th century, is a gift to organ connoisseurs and aficionados alike. Not only has he recorded a multitude of works of unknown composers, but has opened an impressive "organ museum" of more than two dozen productions on historical instruments that are seldom heard on record. This is the final release of our complete recordings of BUXTEHUDE's work. Here the German-Danish musician shows his compositional skills in an area that is justly called the ultimate discipline of Baroque keyboard players - the connection between prelude and fugue, which culminated in the works of Johann Sebastian Bach at the end of the Baroque era. It is well known that he made a pilgrimage to Lubeck in his younger years to attentively listen to the organist of St. Mary's Church there.

Prof. Erich Beurmann donated 70 instruments to the Hamburg Museum of Arts and Crafts. Among them are a large number of harpsichords, clavichords, and fortepianos: from an Italian harpsichord dating from 1540 to a Steinway concert grand piano from 1871. A significant portion of these instruments are kept playable so that the music of various eras can be reproduced on the instruments of the time. Susanne Von Laun regularly plays instruments from this collection in concerts and on guided tours. The artist, who was awarded the Muzio Clementi Award in 2005, selected five instruments for this CD (a square piano from 1777, three fortepianos from 1795 to 1820, and a Broadwood grand piano from 1841), which can now be heard on CD for the first time.

This arresting new album presents a major addition to the solo flute repertoire, bringing together the visionary artistry of flautist Noemi Gyori and the intricate, evocative music of composer Sinan Savaskan. Spanning nearly five decades of Savaskan's compositional output, the album explores the full expressive range of the flute it's lyric warmth, it's structural clarity, and it's capacity for sonic transformation-often in dialogue with subtly woven electronic elements. At the heart of the album lies Sonata '... una rilettura indipendente', a five-movement tour de force that is both architectural and deeply intuitive. Conceived as part of the composer's epic cycle Many Stares through Semi-Nocturnal Zeiss-Blink, this work embodies Savaskan's radical approach to form and harmony an evolving narrative shaped by transformation, resonance, and reflection. Written specifically for Noemi Gyori, the Sonata draws upon her exceptional virtuosity and interpretative insight, and represents a rare synthesis of structural rigour and emotional intensity. Alongside the Sonata are three additional works, each revealing a distinct facet of Savaskan's sound-world. The Sleep of Reason, for solo flute, offers a tightly coiled musical meditation, born from a nocturnal journey and haunted by socio-political undercurrents and subconscious recollections. Always at Dusk, No.3, for alto flute and electronics, distills a fleeting emotional memory into an atmosphere of suspended time, echoing the concept of duree rather than chronological sequence. Finally, Pas de Deux for One, originally composed in 1978 and revised in 2023, draws from Savaskan's background in dance and experimental film, resulting in a vivid theatricality that unfolds through extended techniques and shifting gestures. The electronics, composed entirely from transformations of flute sounds, serve not as backdrop but as an active, organic extension of the instrument's breath, resonance, and timbral possibilities. Whether experienced through speakers or headphones, the recording invites deep listening preferably in dim light, as Gyori suggests offering an immersive sonic space where listener, performer, and composer meet. An album for connoisseurs of contemporary music, Sonata '... una rilettura indipendente' is a profound collaboration between two artists whose shared sensitivity reshapes what solo flute music can mean today.

This arresting new album presents a major addition to the solo flute repertoire, bringing together the visionary artistry of flautist Noemi Gyori and the intricate, evocative music of composer Sinan Savaskan. Spanning nearly five decades of Savaskan's compositional output, the album explores the full expressive range of the flute it's lyric warmth, it's structural clarity, and it's capacity for sonic transformation-often in dialogue with subtly woven electronic elements. At the heart of the album lies Sonata '... una rilettura indipendente', a five-movement tour de force that is both architectural and deeply intuitive. Conceived as part of the composer's epic cycle Many Stares through Semi-Nocturnal Zeiss-Blink, this work embodies Savaskan's radical approach to form and harmony an evolving narrative shaped by transformation, resonance, and reflection. Written specifically for Noemi Gyori, the Sonata draws upon her exceptional virtuosity and interpretative insight, and represents a rare synthesis of structural rigour and emotional intensity. Alongside the Sonata are two additional works, each revealing a distinct facet of Savaskan's sound-world. The Sleep of Reason, for solo flute, offers a tightly coiled musical meditation, born from a nocturnal journey and haunted by socio-political undercurrents and subconscious recollections. Always at Dusk, No.3, for alto flute and electronics, distills a fleeting emotional memory into an atmosphere of suspended time, echoing the concept of duree rather than chronological sequence. The electronics, composed entirely from transformations of flute sounds, serve not as backdrop but as an active, organic extension of the instrument's breath, resonance, and timbral possibilities. Whether experienced through speakers or headphones, the recording invites deep listening preferably in dim light, as Gyori suggests offering an immersive sonic space where listener, performer, and composer meet. An album for connoisseurs of contemporary music, Sonata '... una rilettura indipendente' is a profound collaboration between two artists whose shared sensitivity reshapes what solo flute music can mean today.