Solo Musica
96 products
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Works for Piano Trio by Schubert & Rihm
$21.99CDSolo Musica
Nov 21, 2025SM498 -
Mozart: Concerto for Two Pianos; Choveaux: Cristian en el To
$21.99CDSolo Musica
Nov 21, 2025SM497 -
Dopo notte - arias by Handel and Hasse
$21.99CDSolo Musica
Nov 07, 2025SM493 -
Mozart & Modern
$21.99CDSolo Musica
Nov 28, 2025SM487 -
10 Jahre Basel komponiert - Hans Huber "Romanzen und Ballade
$21.99CDSolo Musica
Oct 03, 2025SM485 -
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Paraphrases
$20.99CDSolo Musica
Jul 18, 2025SM447 -
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Works for Piano Trio by Schubert & Rihm
Mozart: Concerto for Two Pianos; Choveaux: Cristian en el To
Dopo notte - arias by Handel and Hasse
Mozart & Modern
10 Jahre Basel komponiert - Hans Huber "Romanzen und Ballade
Saiga Antelope - Concertos for violin & orchestra
Elektra - Op. 58, Gesamtaufnahme
Ysaye: Six Sonatas for Solo Violin
Hans Schaeuble: Klarinettenkonzert, Op. 46; Sinfonisch-conce
Bridges To Infinity - Works by Enjott Schneider
J.S. Bach, Schubert & Schumann: Credo
Mozart: Piano Concertos Nos. 20 & 24
Debussy, Falla & Ravel: Miroirs d’Espagne
Beethoven: Complete Works for Piano & Cello
In dolce abbandono - Solo cantatas by Handel & Haydn
Violoncello & Harpsichord Sonatas, Vol. 1
Haydn, Ligeti & Hensel
The Chaos String Quartet, named BBC Radio 3 New Generation Artist for 2023-2025, was founded in 2019 based on the principles of chaos in art, science, and philosophy. Having won such prestigious international competitions as ARD (2022), Bordeaux (2022), Bad Tölz (2023), and Haydn (2023), the ensemble is rapidly gaining prominence on the international stage, most notably performing at the Musikverein Vienna, Elbphilharmonie Hamburg, Wigmore Hall, Concertgebouw Amsterdam, Bozar (Brussels), and Philharmonie de Paris. Other awards include prizes at the Heidelberg String Quartet Festival 2023, the Bartók World Competition 2021, and the International Premio V. E. Rimbotti in Italy 2020. In addition to its classical concert activities, the quartet is dedicated to developing projects that make the quartet repertoire more accessible and open to a wider audience.
The ensemble completed its studies at the mdw, University of Music and Performing Arts Vienna, supervised by their mentor Prof. Johannes Meissl, and completed a postgraduate course at the Scuola di Musica di Fiesole with the Cuarteto Casals. The young musicians received further important musical impulses from artists such as Eberhard Feltz, András Keller, Oliver Wille, and Helmut Lachenmann.
This is the ensemble's first CD on the label of the mdw in Vienna, under the label management of Solo Musica. Works by Joseph Haydn, György Ligeti, and Fanny Hensel were recorded.
Mozart: Piano Concertos No. 15 & 21
Hailed for his “Apollonian virtuosity and sensitive tone” (Online Merker, Germany), multi-award-winning pianist-composer Zhen Chen has performed as a soloist and chamber music artist at prominent music venues in the USA, Europe, and China. These venues include Stern Auditorium and Weill Recital Hall of Carnegie Hall, David Geffen Hall of Lincoln Center, Preston Bradley Hall of the Chicago Cultural Center, and China National Centre for Performing Arts.
Since its founding in 1952, the Chamber Orchestra Mannheim has been particularly committed to the rediscovery of and care for the Mannheim School, thus acting as a direct descendant of the famous Mannheim Hofkapelle during the times of Prince Elector Carl Theodor (1724–1799). Thanks to Carl Theodor's modern and enlightened thinking, Mannheim and the Palatine Electorate developed into one of the most innovative and forward-thinking regions in Germany and Europe in the realms of science and art during his reign. It was particularly in the area of music that he succeeded in setting new standards by attracting the best composers and instrumentalists of their time – among them Johann Stamitz and his sons, Anton and Carl, Franz Xaver Richter, Ignaz Holzbauer, or Christian Cannabich – to the Mannheim court, who were to pave the way for a new orchestra culture with their work.
Viennese-born Thomas Rösner is in high demand as a conductor for symphonic repertoire as well as opera since he made his debut with the Orchestre de la Suisse Romande in Geneva.
Moser: Rahel und Pauline
Why is the early 19th century still so vividly present in literature, philosophy, music, and art? Why do Beethoven and Schubert continue to dominate many concert programs as well as a considerable volume of contemporary music journalism? German Romanticism was never an arcane hideout for other-worldly escapists; rather, it has to this day remained one of the most popular wellsprings of activity and discussion. So how does Rahel Varnhagen fit into this? From 1790 to 1832, she hosted a famous salon in which she had discussions with and inspired eminent figures in the fields of literature, theater, philosophy, music, politics, and science. Her chains of somewhat unconventional correspondence span thousands of pages. Since Hannah Arendt’s groundbreaking book on Rahel (1933/58), her historical significance as a “pariah”, as an outsider who was constantly in the spotlight, as a woman of Jewish descent and as a (non-publishing) writer has been brought into ever-sharper focus. Pauline, the daughter of a banker by the name of César, was from a very early age admired by many on account of her beauty. She soon went her own way, bore the child of a Russian officer, and became the lover of Prince Louis Ferdinand of Prussia, who was also a composer and was later killed in battle, leading his men against the forces of Napoleon. So how can such an exchange of letters work as a stage production? Pauline writes in the way she presumably spoke, constantly switching between her Berlin dialect, a distinctive form of standard German, and a highly adventurous Prussian French with her own spelling rules. Portrayed here by a concert singer, Pauline is allowed to be extravagant, whereas Rahel, who leans more towards straight theatre, is rather more rigid in her spoken and sung idiom. The scenes allow answers to be given straightaway even though the two protagonists do not actually meet until the epilogue. Born in 1943 in Bern (Switzerland), Roland Moser studied composition with Sándor Veress and has degrees in piano and music theory from Bern. In Germany, he undertook further studies in Freiburg and Cologne. From 1969 to 1984, he taught theory and new music at the Winterthur Conservatorium. Until his retirement, he was subsequently professor of composing, orchestration, and music theory at the City of Basel Music Academy. From 1968 onwards, he gained experience with experimental music in the Ensemble Neue Horizonte Bern, most of whose members also compose.
Bruckner: Erinnerung
Schaeuble: Klavierkonzert, Op. 50; Concertino, Op. 44; Serenade, Op. 42
There is only anecdotal evidence of how the composer Hans Schaeuble discovered music. He evidently learnt the piano at an early age: he was writing out pieces of music even in his childhood. For his years in Lausanne, there are copious accounts of his attendance at concerts by the Orchestre de la Suisse Romande under Ernest Ansermet, which led him to the conclusion that he should be a composer himself. Against the wishes of his parents, particularly his stepfather (his father having died in 1922), he prepared himself for a course of study in music. From no later than 1927 until the end of 1930, he studied piano with Karl Adolf Martienssen and composition with Hermann Grabner at the Landeskonservatorium in Leipzig. Schaeuble moved to Berlin on December 15 or 16, 1930. He was now a freelance composer and remained so until the end of his life; he never held any official position.
The Concerto for Piano and String Orchestra op. 50 of 1967 is Schaeuble’s fifth work for piano and orchestra. His first essay in the form dates from 1931, his first year in Berlin: the Concerto for Piano and String Orchestra op. 9, which remained unperformed. The Concertino for Oboe and String Orchestra op. 44 of 1959 is the first of three wind concertos that Schaeuble composed in succession between 1959 and 1962. On September 9, 1956 he wrote his first note about preliminary studies; on November 11, 1956, he signed off on his Serenade in B flat for String Orchestra op. 42. Although the piece appears to have been a commissioned work, there is no record of any performances.
Joy of discovery and perpetual reaching for new horizons are the traits that best describe the Grammy-winning State Chamber Orchestra Sinfonietta Riga. Since its foundation in 2006, the orchestra's artistic director and chief conductor has been Normunds Šne. One can hardly imagine a more devoted champion of neglected and rarely played composers than pianist Oliver Triendl. His tireless commitment – primarily to romantic and contemporary music – is reflected in almost 150 CD recordings. The scope of his repertoire is surely unique, comprising more than 100 piano concertos and hundreds of chamber music pieces. In many cases, he was the first to present these works on stage or to commit them to disc.
Vratchanska: Sanctuary - Melodies for Voice & Piano by Alben
Notre amour – Pieces for violoncello & piano / Gehweiler, Hengartner
The tradition of bringing out New Year publications on January 2, “Berchtold’s Day”, goes back as far as the 17th century. Societies andguilds provided printed books, illustrations or music to the young people of the city in return for a financial contribution, which went towards the heating of the society rooms. A 2005 CD of piano music by the Winterthur composer Johann Carl Eschmann, whose documents are held in the Zentralbibliothek Zürich, marked the revival of the old tradition in a new guise.
The New Year release CD 2024 brings together works by six composers, male and female, all of whom except one were born and trained in French-speaking countries. Even Paul Juon had Romanic roots, since his grandfather had emigrated around 1830 from the Swiss canton of Grisons to Russia. Short pieces have been grouped around César Franck’s Sonata in A major: composed between 1880 and 1924, all – except Ernest Bloch’s three lieder movements From Jewish Life (1924), whose Judaistic timbre became Bloch’s trademark – conform to our present-day perception of a rhapsodic fin-de-siècle sound.
The cellist Isabel Gehweiler is a prizewinner of the European Bursary for Young Artists, the Art Prize of the Art Foundation of Baden-Württemberg, the Art Prize of the Markgräfler region; she is also a recipient of grants from the DAAD (German Academic Exchange Service), the Juilliard School of Music, the Rotary Foundation, the arteMusica Foundation, the Cultural Foundation of the Saarland region, the Richard Wagner Association, the Covid-19 Grant of the City of Zurich, the Notenstein La Roche Privatbank and the Vontobel Bank. As a composer, Isabel Gehweiler has produced a body of work encompassing chamber music and orchestral compositions, which are regularly performed at international festivals.
Paraphrases
Brahms: The Piano Concertos / Kauten, Wurttembergische Philharmonie Reutlingen
It has long been my wish to record both of Johannes Brahms’s piano concertos for CD. In doing so, I have been able to build upon many experiences that allow me at this point in time to open myself up even more to the essence of these works, which move me to the depths of my being. Both works offer me something incredibly great, something that in my conception of things can hardly be further enlarged. Each of the two concertos fascinates me with its vast wealth of sound, its intensity, above all with its simply infinite emotional range. Highly dramatic developments open out into playful lightness of being. Time and again there are sincerely thoughtful moments, marked by deep serenity. The slow movements of these two concertos particularly fascinate me on account of those passages, which give us a glimpse into what is above and beyond the world we know. The Magyar in me senses many Hungarian influences. My engagement with the two concertos in the course of making the present recordings together with the Württembergische Philharmonie Reutlingen has enabled me to look at the above aspects with new eyes. These are insights that go ever deeper throughout one’s whole life. The process is never complete. The cathedral is too big for that. Andrea Kauten
