When a CD album bears the title SANCTUARY, it is almost obvious that it is in the spirit of the sacred; yes, it is, but not sacred merely in the religious sense; rather sacred and humanist, sacred and pacifist, sacred and pantheist. So sacred and so profane at the same time. Prayers are expressed in all religions - to remain human, to remain in peace, love and peace. This is the one favour that everyone asks from their respective god. And that's the message of all 12 tracks on the album. Because our time demands it of us - to share the values that are most important to human beings. The 12 poems set in music and which are the source of inspiration, mainly come from the beginning of the 20th century, but all reflect expressionism and result from the crucial problems of the last century, which are very relevant today. The music is often inspired by expressionist aesthetics, without borrowing expressionist musical language; I work with stylistic elements that are specific to me. Prayer and the humanist idea are the common thread - always present in my way of constructing programs and my albums, in this case global in nature and universal before becoming intimate; a call from the bottom of the heart like a cry to the gods (plural), to all the gods on earth, so that they can save and preserve us from the abyss of our sins. Albena Petrovic Vratchanska is a Luxembourgish composer of Bulgarian origin and Knight of the Order of Merit of the Grand Duchy of Luxembourg (2013). She is also honoured with the Silver Medal of Merit from the Union Grand-Duc Adolphe (2017), the Silver Medal from the Union Saint Pie X (2018) and the "2007 Cultural Prize" from the municipality of Hesperange. Anna Bineta Diouf is a German-Senegalese Mezzo-Soprano. On piano we hear the Austrian pianist Eugenia Radoslava. Her CD recordings in the series "Piano-Piano" were among the ten best-selling classical CDs in Germany in 2009.

What makes Ysaye's solo sonatas so extraordinary is the richness of their harmonies, offering endless possibilities to explore a vast spectrum of contrasts in sound projection and violinistic effects each time you engage with them. To me, these works are like a boundless ocean, where every dive reveals something new, enveloping you in an infinite palette of colors and emotions. The experience of both playing and listening to them is nothing short of breathtaking, as they invite you into a world of perpetual discovery, where the music seems to breathe and transform with every interpretation. Elvin Hoxha Ganiyev The Belgian violinist and composer Eugene Ysaye (1858-1931) created Six Sonatas for Solo Violin, Op. 27 in 1923. His intention was to leave a legacy for future generations that would testify to the performance techniques of his time, with particular emphasis on the evolution of musical language since the era of Johann Sebastian Bach. As he wrote: Indeed, the Six Sonatas are dedicated to violinists of European origin, in order: Hungarian, French, Romanian, Austrian, Belgian, and Spanish. However, Ysaye's project was essentially detached from national or Eurocentric concerns, as the dedications were meant to commemorate the greatest musicians of the younger generation. The structure of the collection and the number of works reference Bach's Sonatas (three pieces) and Partitas for Solo Violin (three works), which Ysaye and his contemporaries regarded as a significant point of reference in violin literature. References to Bach, so evident both in the entire collection and in the individual sonatas, are not, however, the only ones that can be found in Op. 27. There are also notable influences from romantic song and mid-19th-century operatic arias, interwoven with references to medieval sequences and the virtuosic style of Niccol� Paganini. When composing the Op. 27 Sonatas, Ysaye was withdrawing from concert life. Therefore, this collection serves as a unique kind of musical testament, commenting on the performance achievements of his era while also anticipating the further development of violin literature. Particularly striking are the recurring motifs of warning and disruption, provocatively foreshadowing changes in the musical language of the second half of the 20th century.

This CD is the first of three albums of music by Giovanni Benedetto Platti, on which we plan to record all twelve cello sonatas and the harpsichord sonatas Op. 1. We are delighted to have found in Platti an interesting and little-known composer whose music is fascinating to explore. Giovanni Benedetto Platti is a classic example of one of the many underestimated composers of the 18th century. Today, his name is familiar only to specialists and his music known to but a very few, yet his work is well worth discovering. A factotum at the Wurzburg court, he wrote eminently attractive sonatas and concertos for oboe, cello, harpsichord and flute, as well as larger scale works including an interesting Requiem. The twelve cello sonatas have survived in a manuscript dated 1725 from the collection of Count von Schonborn in Wiesentheid. They all have four movements and are characterised, as so often in Platti, by a compact and stringent compositional style. Hardly any single movement takes up more than a transverse page of the score, and many of the slow movements only half a page. Born in South Tyrol, Alex Jellici studied the cello in his home town of Bolzano, then in Florence, Vienna and Zurich under Luca Fiorentini, Giovanni Gnocchi and Orfeo Mandozzi. Further studies in baroque cello and viola da gamba followed under Martin Zeller at the Zurich University of the Arts. Matias Lanz has been organist at the Winterthur Veltheim Reformed Church since 2013. He has also been active as a tango pianist for several years. In 2022, together with bandoneonist Jens Biedermann, he founded Tango Bodegon, a cuarteto tipico dedicated to the performance of traditional Argentinian tango. He has attended tango masterclasses with Roger Helou, Pablo Estigarribia, Leonardo Ferreyra and Rodolfo Mederos.

Margarita Hohenrieder and Julius Berger have known it all their lives: the elucidations of Carl Czerny or Rudolf Kolisch, the latest Urtext editions that will lead them to "faithfulness to the text", the disquisitions from Romain Rolland to Eleonore Buning - they read, they discuss, it all seems helpful and necessary. At the end of the day it is the mature individual, the serious exponent, who makes the decision led by the promptings of conscience, and who simultaneously senses this "growing" of which Zagajewski speaks. Both climb a steep path, in order to approach Beethoven more closely. The summit of this path is visible, but not attainable. That is why the artists keep returning to this path, endless as it is. Beethoven lives in us, as he changes, as we change. Life aspires to art, art is a way forward, life is our way forward. Beethoven changes us through his "growth". We grow with him!

Anna Maria Kaufmann the Canadian and German Musical and opera singer releases the first album on the Label Solo Musica. It's a Good Day for Singing a Song - the first line of the title song puts it in a nutshell. Anna Maria Kaufmann has fulfilled a musical dream and presents a brilliant selection of their favorite songs on her new album It's a Good Day! Anna Maria Kaufmann leading US on a musical journey into the 1950 's and 1960 's at a time when Bossa Nova Mambo and Cha Cha Cha bring the people to the dance floors. With her unique voice she performs great songs from that time period like Amado Mio and Mambo Italiano. Whether passionate melodies with Latin American rhythms such as Mambo Bacan and Libertango moving ballads such as Moon River or immortal evergreens such as Bel Ami all the songs go immediately direct into the heart.

By choosing to record classical repertoire with electric bass, including Bach’s Cello Suites, Jacques Bono has acquired a unique position in the music business. Playing them at their Thuringian church “original sites” put Bach's works into high contrast by interpreting them on an instrument of our times, more than 300 years after their composition – a project never ventured before. The time, the separation into musical genres and the familiar listening sensations are all overcome in Jacques Bono's performances. The cellist unperturbedly countered initial doubts by critics who claimed that it was impossible to perform Bach's cello suites on an electric bass with a musical venture that has music lovers of all origins intrigued – a revolutionary act in the best sense of musical tradition. In 2013 Jacques Bono had the idea of recording Bach’s 'Inventionen' in two voices together with a female violinist. On the German classical music scene he could not find a female violinist who would venture to play freely with him without fear of offending academically imposed values. He was thus delighted to find Tien-Hsin Cindy Wu in Los Angeles, who proved to be a violinist capable of playing J. B. Bach's music vivaciously, in a heart-felt manner and free of dogma.

This special edition commemorates Mieczyslaw Weinberg's centennial by highlighting a remarkable, rare four-sonata set for solo viola. In addition to over 90 minutes of unique music-intensely vivid, warm, thought-provoking - this 2-album edition includes a special in-depth essay by Weinberg authority David Fanning, rare historical photographs (some never before published), inputs from several notable personalities and an essay by the performer. "Each bar of this interpretation by Viacheslav Dinerchtein is filled with deep insight and dedication to a genius whose music we should all get to know. The masterful interpretation of these virtually never performed works should arouse the interest of other musicians and music lovers, and I hope the public will be as excited as I am by this recording of the Sonatas for Viola Solo composed by Weinberg, truly a milestone of contemporary viola repertoire" (Gidon Kremer)

Classical Music

Sharon Brauner comes from a family who has been in the German film industry for five decades. Now, however, she is clearly focused on her music. On this album we find a whole new musical presentation of wonderful and well-known evergreens sung in the Yiddish language. There are classics like “Bay mir bistu sheyn (To me you are beautiful)” which have been moved to the beach of Copacabana and are sung with an electro sound and tango feel. With “Tumbalalaika,” she utilizes elements of the far east, and the ballads of the album sound more like pop than what is usually found in Yiddish music.

The paul taylor orCHestra ensemble is centered around a number of eminent professional string players who, in collaboration with their conductor, set out to achieve a sound that unostentatiously, pliably and sometimes even radically serves the original musical style and project the character of each piece. The ensemble aims to bridge the gap between different cultures and musical genres and focuses on exploring, in the broadest sense, the boundaries between classical and contemporary music, venturing as far as the poles of folk, jazz and pop. Alphorn & Nordic Winds is their new CD release.

This CD presents first recordings of two original, very different and thus far unknown Romantic works for solo cello: Julius Klengel's Suite in D minor op. 56 and Hugo Becker's Fantastische Suite, op. 14. Both of these early 20th c. works represent the two leading cellists' discovery of composing late in life. Like Paul Tortelier's strongly Bach-oriented Suite in D minor, they are important additions to the solo cello repertoire. National and international competition prizewinner cellist Markus Wagner has been Prof. of Music at Nürnberg College of Music since 2007.

Beethoven's five cello sonatas are the quintessence of his personality and work: they exemplify the creative development of this great composer who is perhaps even more relevant in our modern, ephemeral society in which little time is left for reflection. + Cellist Maja Weber and pianist Per Lundberg have been playing chamber music together for more than twenty years, mostly in piano quartets and quintets. + The idea of forming "Duo Leonore" was thus a natural consequence of their working together.

Music of Johann Sebastian Bach was always fundamental for Aliya Turetayeva. From the first listening of his Mass in B minor in her childhood, his music has accompanied her through her life. Almost every day she starts with the music of Bach in order to be "well-tuned" throughout the day. She always felt connected with eternity through his music and shared many happy and tragic moments during the years listening to his output. Bach's music was always a symbol of faith for the artist - many times in life his music gave Aliya Turetayeva strength to live further and not to give up; it will remain to be a symbol of faith for her, to be her Credo. Aliya Turetayeva was born in 1986 in Almaty, Kazakhstan and received her first piano lesson at the age of five. Aliya moved to Cologne, Germany to continue her studies at the Hochschule fur Musik und Tanz Koln as a student of Professor Pavel Gililov. She was awarded her Masters degree in 2010. As well as her work as a soloist, Aliya Turetayeva is a dedicated chamber musician. She recorded chamber music works by G. Crumb and A. Schnittke for WDR Radio Cologne. She also completed 2013 her postgraduate studies at the Mozarteum University in Salzburg under the tutelage of Professor Gililov with the highest mark.

When Matthias Kessler (*1997), Luca Staffelbach (*1996), and Fabian Ziegler (*1995) play the works of French composers, they use up to two marimbas, three vibraphones, and two glockenspiels, sometimes more, sometimes less. The three musicians, all of whom hail from Switzerland and Austria, have dedicated five years of development work to their debut CD. The ensemble's common denominator is a great desire to explore the infinite potential of percussion instruments. Their bachelor's degree courses at the University of the Arts in Zurich paved the way for the three young musicians to explore the entire spectrum of instrumental possibilities from the outset, and their mutual interest in their subject matter extended far beyond the huge variety of drums and other percussion instruments they had to hand, right up to the so-called "mallet instruments". Mallets are occasionally called beaters, and one usually plays marimbas and vibraphones with two of these implements in each hand. In the process of playing in this way, the percussion transcends it's role as a pure rhythm instrument and emancipates itself as a fully-fledged, melodic, and tone-embellishing tool. Mallet ensembles have now established themselves as an extremely popular genre in competitions and in the world of concert performances. Matthias Kessler, Luca Staffelbach, and Fabian Ziegler invariably receive an enthusiastic response at their concerts, where the audience is always impressed by the variety of these instruments they have at their disposal. In addition to the wealth of musical effects they utilise, the high level of synchronisation achieved by this young trio is astonishing, and it often appears to the untrained eye that everything one hears is being played by a single instrument. These three young musicians would like this line-up to be taken ever more seriously in the future. The trio is planning that the musical focus should be less and less on a spectacular exotic status while concentrating more on the development of their musical quality and depth: "We hope that perhaps in five or ten years' time, people will come away from a marimba and vibraphone concert just as they would from a piano recital and not just say that was a sensational show," is how Matthias puts into words the group's aim for the future, something that, in turn, should also be reinforced by their current CD debut.

The biographies and the music of Debussy, Ravel, and de Falla contain multiple hidden reflections, many elements that mirror each other. These reflections are so clear-cut that it becomes difficult in many cases to make out the original image. Music inspired by Iberia and the piano as an instrument were certainly common ground, on which the three composers engaged in a lively artistic exchange. The Romantic piano repertoire has appropriated music of the most diverse origins. Considering the particular instrument that originally inspired it, we could almost call the result regeneration rather than mere transcription, as if the music were reborn in it's pure form. The works included on this CD showcase guitar, harp and piano in just such a complementary relationship. Indeed, Maurice Ravel personally noted in his score of Miroirs for the pianist Vlado Perlemuter, that he should imitate the guitar or the harp in certain passages. In his article La guitara, Manuel de Falla in his turn writes of how marvellously Debussy depicts the artistic qualities of the instrument, without ever having used the guitar at all in his works. Having grown up with the Romantic tradition, many pianists of the time had difficulties doing justice to the new musical imagery of Symbolism. Chronicles from the time reveal a certain impatience in composers, who required from interpreters a new technique and a different use of the sustaining pedal. Unlike the piano, both guitar and harp emit softer, less defined contours, in keeping with the melancholic and equivocal timbres of Debussy and Ravel. Ever since his student days, Maurizio Grandinetti's main interest has been broadening the musical horizons of his instrument. He is currently soloist, chamber musician and improviser. His career so far has taken him to the most important festivals and concert halls in numerous European countries, Brazil, the USA and China. For 14 years Consuelo Giulianelli was professor for harp at the Stella Matutina Private Music Academy in Feldkirch, Austria. Alongside studies with Mirella Vita and Ursula Holliger, that she completed with distinction, she attended courses by Marielle Nordmann and Pierre Jamet, who premiered the Sonata for Flute, Viola and Harp by Claude Debussy.