There are always musical child prodigies. Faster, more powerful, more perfect than previously imaginable. But there are also "senior prodigies". They reveal not only structure and time earned wisdom but also an inner sense of greatness. At the same time they talk about themselves and their lives, where they come from or where they are going, on the basis of pieces that they have often carried around with them since youth. About their dreams, which are also those of youth. "What would you most like to play?" I asked 74-year-old Miklós Perényi when we were thinking together about the program for this recording. The result was an unusual recital, volume 2 of the TACET series "Summary".

At the beginning of 2021, a gap was found in the renovations at the church, where the previous volumes of the complete recording of all 555 of Domenico Scarlatti's piano sonatas, with the exception of number 6, were recorded. The present 7th publication with the sonatas K. 236 to K. 265 was thus surprisingly made in the familiar surroundings again. Is it perhaps the finest set to date? We ask ourselves and you, dear listener. Help us! The pianist Christoph Ullrich is always on the lookout for a lively and unconventional engagement with the audience. This leads to interesting and contrasting solo and chamber music programs, but also to the development of new program forms. The thematically very dense musical-literary programs with the BonaNox ensemble, the music theater-related concepts for children's concerts as part of laterna musica and his concert idea "Alchemy of Sound" stand for this.

The pianist Christoph Ullrich has tested positive for Scarlatti and is quarantining at home for three months to prepare for the next wave. The Scarlatti virus is extremely infectious. A person infected with it can easily infect up to 100 other people. Previous releases from TACET’s complete edition of Scarlatti are regarded as particularly dangerous superspreader events. Symptoms include continuous listening to these recordings, sleeplessness and a good mood. The producer is said even to have shown signs of mental confusion. Gerd Finkenstein knows this material intimately and has been present at all the recording sessions in this TACET series with his concert grand. Even such a large instrument does not offer sufficient protection: Finkenstein has also tested positive. He said, "I can no longer sleep at night, I toss and turn from one side to the other and keep waking up in a good mood." The illness originates not in China, as many maintain, but from Italy, either from Parma or Venice, maybe even both cities, according to Thomas Seedorf, chief virologist of the TACET series. He advices sticking rigidly to the H-F-S (“Hands-Face-Space”) rules better known as "Hear - Frequently - Scarlatti!". Thomas Seedorf: “Don’t read this information! It’s incendiary. Thomas Seedorf: “Don’t read this information! It’s incendiary. If you have already read it, contact the Ministry for Musical Health and follow the instructions you are given.”

As the market for high-quality multi-channel recording is pushing forward, TACET is leading the charge. This monumental release features all 9 of Beethoven’s symphonies recorded in incredible Real Surround Sound. With five and a half hours of genius interpretation from Wojciech Rajski and the Polish Chamber Philharmonic Orchestra, this is a must-have for Beethoven fans. Even if you’ve heard all of Beethoven’s symphonies time and time again, you’ve never heard them with such clear, stellar sound quality. This is the closest you can get to sitting right in Beethoven’s audience.

In a sense, this new recording from Evgeni Koroliov of pieces by Frédéric Chopin that he played in his youth, continues on from his last one (Intermezzi by Johannes Brahms TACET 256). Contemplative, intimate music that reaches out calmly and fondly to the listener, allowing him/her to breathe deeply, forgetting the concerns and worries of the world outside. Evgeni Alexandrovich Koroliov is a Russian classical pianist. Koroliov studied at the Moscow Conservatory. Since 1978 he has been a teacher at the Hochschule für Musik und Theater Hamburg. He lives in Hamburg with his wife Ljupka Hadzigeorgieva. Together they also form a musical duo (“Duo Koroliov“). He is mainly associated with the keyboard repertoire of J.S. Bach, but he is also known for his performances of Haydn, Chopin, Debussy, some Mozart and Schumann, and contemporary works like those of Shostakovich.

For the last time, we dive deep into the 19th century as part of our benchmark collection of Welte recordings. Born in 1866, pianist and composer Ferruccio Busoni was recommended by Johannes Brahms as a student and was acquainted with countless musicians from Grieg to Tchaikovsky. Today he is best known for his arrangements or interpretations of Bach, Chopin and Liszt. All of Busoni's Welte recordings can be found on this double album. This concludes the TACET series "The Welte Mignon Mystery."

Pictures while listening to symphony no. 9: A joyful, almost boisterous opening movement. A dreamy, contemplative second followed by a sparkling presto. And then this short fourth movement, the helpless lament of a lonely bassoon, still showing signs of vitality against the stark, unbending, unison brass. A small, tormented individual under brutal state power. Nevertheless, still it laments. The dictator repeats his demand. But the bassoon does not totally lose heart. It starts the last movement with a shy, slightly mischievous dance that becomes gradually more light-hearted. Somewhere along the line, the timpani and horns give the signal to rise up, initially very softly. This is the announcement to the dictator: watch out, Stalin, this is it, now I'll make you think with pen and ink! The furious ascent peaks with a grotesque triumphal march that sounds like liberated laughter. The powerless one makes fun of the all-powerful – and then whistles in his face! Looking back, the question arises: who is the one lying as heavy as cold sheet metal in an eternal bottomless pit and who is the one who remains laughing in history? Judging by the music, by the 9th symphony Shostakovich had put the worst of times behind him. Quite different from in the 5th, but that's another story. Another story, by the way, that you can also find in this cinema.

Pictures while listening to symphony no. 9: A joyful, almost boisterous opening movement. A dreamy, contemplative second followed by a sparkling presto. And then this short fourth movement, the helpless lament of a lonely bassoon, still showing signs of vitality against the stark, unbending, unison brass. A small, tormented individual under brutal state power. Nevertheless, still it laments. The dictator repeats his demand. But the bassoon does not totally lose heart. It starts the last movement with a shy, slightly mischievous dance that becomes gradually more light-hearted. Somewhere along the line, the timpani and horns give the signal to rise up, initially very softly. This is the announcement to the dictator: watch out, Stalin, this is it, now I'll make you think with pen and ink! The furious ascent peaks with a grotesque triumphal march that sounds like liberated laughter. The powerless one makes fun of the all-powerful – and then whistles in his face! Looking back, the question arises: who is the one lying as heavy as cold sheet metal in an eternal bottomless pit and who is the one who remains laughing in history? Judging by the music, by the 9th symphony Shostakovich had put the worst of times behind him. Quite different from in the 5th, but that's another story. Another story, by the way, that you can also find in this cinema.

The TACET label, famous for ist visionary, high-quality repertoire policy, uses new technology to search for new ways of using the auditorium for musical experiences. Andreas Spreer, owner and manager of the label Tonmeister of this recording, places the listener right in the middle of the musicians: opposite the viola, with the violins at front left and right and the two cellos behind his or her shoulders. This configuration is most definitely unusual and takes some getting used to; but what three-dimensionalness it gives to Schubert’s wonderful – and wonderfully played – String Quintet! The themes become tangible thanks to the masterful interpretation, the structure of the work is intuitively understandable, and the attribute “acoustically transparent” should really be redefined after this recording. (Kulturspiegel)"(…) Ever wondered what it was like to play in a chamber group such as this? Well, choose your instrument and sit close to that speaker. You’ll get a pretty good idea." (Audiophile Audition)

There is a new recording of Mozart opus KV 551 and KV 543! Some reviewers shake their heads. "Yet another one!". Fortunately, these two are so devilishly good that centuries after their creation they still knock people who have an antenna for it off their feet. Wait a minute, antennas, did they exist back then? Silly? Yeah, silly. Who would say that Mozart wasn't occasionally silly? And bold, cheeky! The way he throws down the last movement of the Jupiter symphony like a gauntlet at the feet of his contemporaries is inimitable. Unfortunately, you can't see it on this album when the bassoons and cellos laugh up their sleeves, but you can hear it all the better. What contrasts! After the bright beginning with timpani and trumpets, the second movement comes from a completely different world. "Con sordino", seductively and gently Gordan Nikolic and the girls and guys of the Netherlands Chamber Orchestra caress the ears. And so it goes on and on. Same with the E flat major symphony. Yes, but aren't there already many wonderful recordings of these works? Yes there are. But as is the case with Mozart, the most famous interpreters can fail and the least known can hit the mark. Decide yourself.

The 6 sonatas for violin and harpsichord obbligato rank amongst the most beautiful chamber music that Bach wrote. They are overshadowed by the solo sonatas. This despite the fact that they are masterpieces in their own right, only without the aura of a magnum opus. The slow movements display a range of moods, from desolate and lonely to radiantly festive. Meanwhile, the fast movements are a mixture of high-spirited instrumental music and contrapuntal mastery. There are canons, fugues, chorale preludes and much more: practically a compendium of options. Daniel Gaede and Raphael Alpermann guide us through this treasure trove of curiosities with virtuosity and sensitivity. Once again: 2 albums for the price of one.

Christoph Ullrich's reverence towards this father of virtuoso keyboard music is always enthralling and rich in variety and has us on the edge of our seats. But then, for two fascinating bonus tracks, Ullrich brings the well-known percussionist Eric Schaefer into the recording studio. There they improvise together on two of the previously recorded sonatas. The result rounds off part 5.

With this awaited release of Beethoven’s magnificent 9th symphony, the TACET cycle of Beethoven symphonies on SACD is complete. The inspiration behind this performance is Friedrich Schiller’s quote, “All men will be brothers.” Whether that means a utopia or an illusion, conductor Wojciech Rajski attempts to make this a reality with his Polish Chamber Philharmonic and the Schola Cantorum Gedanensis choir. The soloists featured on this recording hail from all corners of the globe, and include Bomi Lee from Korea, Agnieszka Rehlis and Krystian Adam Krzeszowiak from Poland, and Tareq Nazmi from Egypt. Of this stereo version, Remy Franck writes in Pizzicato: “…there is no false solemnity here, just happy, untroubled upbeat joy…” between the incredible interpretation and the remarkable sound quality, this release is a must-have for any reference collection.

Andreas Speer writes of this new album: “A soft knock at the door. Who is it? Could it be? - Hopefully it is! - Hidden feelings, longings arise, a sense of who and what it could be, and then the door opens, and it's him – rather than crashing in he enters cautiously, and the reality is even sweeter and more beautiful than imagined - Please excuse me giving rein to such unrestrained romanticism, but these are pretty much the associations running through my mind as I listen to this recording. The tapping motif in the timpani and the singing lover are as one: Beethoven's Violin Concerto is chamber music. Daniel Gaede plays unaffectedly without any soloistic pretensions and on the same wavelength as the Polish Chamber Philharmonic Orchestra under Wojciech Rajski. As a prelude rather than an encore, the three brothers in spirit, Daniel, Thomas and Sebastian Gaede play the Serenade op. 3.”

Evgeni Koroliov can keep up with the genius of a Glenn Gould or the discovery of an 'original sound interpretation' - because he has something original to say, even though he does not deviate far from the familiar paths. This does not mean that there is nothing new to be learned from his Bach interpretations. Koroliov finds his own color for each piece entrusted to him, fanned out between archaically robust grasping and an elegantly refined piano sound. But he makes the most lasting impression where he digs deepest: In calmly sounding the depths of, for example, the great minor fugues, where, forgetting himself entirely, he unearths the really essential part of this music. (Suddeutsche Zeitung)