The last album with the current line-up, The King's Singers present a new album of choral music from the early 20th century, with a feature from sopranos Grace Davidson and Victoria Meteryard. "Such stuff as dreams are made on is an exploration of European choral music from the early 20th century (and a bit either side), much of it shaped and scarred by the spectre of conflicts that dominated the continent in that period. For us, the album has been a chance to develop and exercise new and different colours in our singing, to dive deeply into text-centric interpretations and historical context, to savour and cherish the four languages in which we sing here, and - in one instance - even to expand our forces a little. " - The King's Singers PRAISE FOR SIGCD912 CLOSE HARMONY 5 stars "The current line-up of King's Singers demonstrates their continued pre-eminence with these outstanding recordings of often very difficult arrangements. The Singers deliver with their usual mix of charm and skill" - Choir & Organ

The music recorded on Arc I [FHR127] expresses foreboding from the brink of disaster. The music on Arc II [FHR128] was written by composers dealing with tragedy. At last, Arc III is a set of pieces born from the bright points of life. Peace, hope, love, ambition, optimism and the divine - the inspirations are myriad. These compositions spring from the million shades of happiness. Orion Weiss has performed internationally as a soloist, recitalist and chamber musician. This is his sixth album of solo piano music, his third for First Hand Records. Full biography available at orionweiss. Com

This recital offers a fine mix of Bach's organ works, at larger and smaller scales, on the renowned historical instrument made by Alsatian organ builder Johann Andreas Silbermann of Strasbourg, a master of French baroque organ construction. It follows in a distinguished line of recordings of Bach made in the extraordinary acoustic of the Arlesheim Cathedral, by such luminaries as Walter Kraft, Karl Richter and Lionel Rogg. Situated just outside the city of Basel, the village of Arlesheim grew up around it's Cathedral, which was the church of the displaced cathedral chapter of the Diocese of Basel from 1679 to 1792. The first three years of this tenure saw the Bishop build not only the cathedral, but also a complete town centre with houses for the advisors and the administration of the See, using architect Franz Demess. A total refurbishment and enlargement of the Cathedral was begun in 1759, culminating in the installation of the Silbermann organ two years later. The organ builder was included in the renovation's planning from the start, such that modifications to the Cathedral's architecture were made with a view to enhancing the nave's musical acoustics. The instrument was restored by Metzler in 1959-62 and then again in 2005 by Gaston Kern. It is an example of the fusion of French and German organ building styles. Other information: - Recorded July 2012 in Arlesheim (Switzerland) - Booklet in English contains liner notes by the organist, a description of the organ with stop list, and a profile of the artist - This 2-CD set presents organ works by Johann Sebastian Bach, played on the Silbermann organ in the Dom of Arlesheim. - This organ in the Dom of Arlesheim is a masterpiece of Baroque organ building, built by Johann Andreas Silbermann in 1761. Located in the Arlesheim Cathedral (Dom) near Basel, Switzerland, it is one of the finest examples of Silbermann's work and one of the most historically significant organs in Europe. The organ is known for it's rich tonal qualities, combining both French and German influences, typical of Silbermann's style. It's elaborate case, decorated with gold leaf and intricate carvings, complements the interior of the Dom, enhancing the spiritual atmosphere during services and concerts. Despite restorations over the centuries, the organ retains much of it's original pipework and mechanical structure, ensuring an authentic sound. - The program includes favorite organ works, including the famous Toccata & Fugue BWV565, 3 Concerto transcriptions by Vivaldi, the Trio Sonata BWV 530 and several Choralvorspiele. - Played by Italian master organist Ivan Ronda, internationally acclaimed by guest appearances in such venues as Westminster Abbey and King's College Cambridge.

Though naturally closely associated with the organ and harpsichord, Bach had a special relationship with the violin, his father's instrument, throughout his life. Moreover, we know that he was a highly skilled player, performing regularly at the court of Weimar, and probably also at Kothen and Leipzig. He wrote and transcribed concertos and sonatas for violin, but above all created the unprecedented collection of Sonatas and Partitas for solo instrument. And it is precisely for this vehicle of pure virtuosity that Marco Serino's new project offers four masterpieces, only one of which - the Partita No. 2, the most ambitious work in the group - has survived in a version for violin. Both the first two Suites for cello and the Toccata and Fugue BWV 565, however, already boast an important tradition of violin transcriptions. Pervaded by the virtual polyphony so characteristic of the celebrated Sei solo, these extraordinary pieces, which are presented from a different perspective than usual, celebrate this art of transformation pursued by the artists of the Baroque as an ideal of continuous and fruitful metamorphosis.

Trained in Kyiv, his hometown, then in Austria where he lives today, Dmytro Choni - Bronze Medalist at the 2022 Van Cliburn, Gold Medalist at the Santander Paloma O'Shea in 2018 - imagines for his recording debut with naive an ingenious and mischievous dialogue between Paradise and Hell, in direct echo to the Divine Comedy of Dante Aligheri, the essential poet of the late Italian Middle Ages, who was a strong influence on a Romanticism that was looking for it's roots. The luminous pieces, with soothing melodies, will embody Paradise. The first opus of his compatriot Valentyn Silvestrov, whose aesthetic recalls the quiet beauty of Kyiv, the calm Bagatelles open the present journey in elegiac tones, even if here and there, as in the moving Moderato median, some beginnings of a coming anxiety emerge. The terrifying darkness will burst forth from the incipit of Apres une lecture de Dante (Liszt), where Choni becomes the devil himself. In this fantasia quasi sonata, hell is a tragic whirlwind, and the passionate impulses transcribe the unhappy passion of Paolo and Francesca. Then a new, devastating contrast. The centrepiece of the second part of Debussy's Images for piano, Et la lune descend sur le temple qui fut, introduce another Paradise, where Orient meet ancient Greece, both dreamed and fantasised; the French composer captures in the very sounds of the Balinese gamelan our sense of wonder when looking at ancient temples. The culmination point of the program, L'Isle Joyeuse, speaks more of the joy linked to budding love. In this highly virtuosic piece inspired by Watteau (Embarquement pour Cythere, 1718), just as much a fictional reduction of a ballet with orchestra, Debussy achieves a unique sensual energy, truly erotic. Gargoyles (like the grimacing stone figures of the cathedrals) then revive the evil spirits, in a slightly percussive style that evokes Prokofiev and even more the Sonatas of Roger Sessions (1896-1985). The American composer Lowell Liebermann here links together four short, highly expressive pieces, where the sarcasm of the introduction (Presto) or the final Presto feroce coexists with the ether in the Allegro moderato. The gentle limpidity of Silvestrov's Postludium finally ends this program where Dmytro Choni, with his ever-lively and incisive fingers, becomes above all, like Charon on the Styx, a ferryman "between the worlds".

After A Soprano's Schubertiade (BIS-2343) and Elysium (BIS-2573), Carolyn Sampson and Joseph Middleton present a new recital devoted to Schubert's songs on the theme of the changing seasons. While there have also been other successful celebrations of the four seasons in music, Franz Schubert, a lover of nature, here evokes them in his lieder. Winter, imbued with nostalgia, is represented here by three songs in which the Schubertian hero sings of lost love. But gloomy thoughts soon give way to spring, synonymous with optimism and hope as nature returns to life: 'Welcome, with your happy swarm of newly awakened creatures around me.' If life is in full swing during the summer, the hero now seems uncertain about the happy outcome of his quest for love. In autumn, evoked here by six songs, the hero can only acknowledge his failure, reflected by nature preparing for a months-long sleep: 'Ah, as the stars disappear in the sky, so does life's hope fade away.' Clarinettist Michael Collins joins the duo for one song, 'Der Hirt auf dem Felsen', Schubert's penultimate composition. Inspired by yodelling, this extended lied ends with the hope of a better life, with spring just around the corner and the prophetic words of 'now I shall prepare/to go a-wandering' heralding the composer's approaching death.

Mozart's Divertimento in E flat, K563 plays a central role in the musical life of our ensemble. It's musical complexity and the depth of expression which Mozart achieves through only three voices are seemingly miraculous: it is one of those pieces which constantly rewards rehearsal. One simply never gets tired of playing it! When the opportunity to record this masterpiece arose, we were faced with the challenge of what to play alongside it. Our dear friend Rob Fokkens had written two short movements for string trio which seemed to fit beautifully with Mozart's music: Rob's translucent harmonic and rhythmic style offers unique expressive possibilities. The chance to commission the great Julian Joseph was not to be missed, and his work, Bring it!, wonderfully demonstrates his brilliance and lyricism, and the subtly of his harmonic language. We sincerely hope you enjoy listening to the music on this album as much as we loved preparing it!

Franz Liszt etudes d'execution transcendante Nos. 1-12, S. 139 from: Grandes etudes de Paganini, S. 141 etude No. 3 in G-sharp minor - "La Campanella": Allegretto Frederic Chopin etude in G-flat major, op. 10 No. 5, "Black Keys" Yunjie Chen, piano Yunjie Chen's new album featuring Franz Liszt's Transcendental etudes is an exceptional addition to any classical music collection. Renowned for his interpretative depth and technical prowess, Chen brings a fresh perspective to these intricate works. From a young age, Chen has been immersed in Liszt's challenging pieces, having first encountered them at the Shanghai Conservatory of Music. His deep connection with these works is evident in his performance, which balances technical precision with emotional depth. Chen sees Liszt's etudes not merely as technical exercises but as character pieces, each with it's own narrative and emotion. Yunjie Chen's approach to these pieces is both respectful of Liszt's intentions and uniquely his own. He avoids overromanticizing the music, instead aiming for a balance between rhythmic precision and expressive emotion. His nuanced interpretation brings out the vivid imagery and emotions in each etude, from the wit and sarcasm in "Feux Follets" to the heroic and tumultuous "Mazeppa." Through this recording, Chen invites listeners to experience the transcendental beauty of Liszt's music. He hopes that his performance will not only showcase the technical demands of these pieces but also their lyrical and evocative qualities, allowing listeners to appreciate the profound poetry embedded within each note.

Following his recording of the first book of Bach's Well-Tempered Clavier released last year (BIS-2621), which was praised as 'a pleasurable benchmark for anyone seeking a traversal that honours every detail of the music' (Gramophone), harpsichordist Masato Suzuki now offers us his interpretation of the second book of Bach's masterly cycle of preludes and fugues. No other works from the baroque period have been as cherished, performed and studied as these collections, the objectives of which were musical, theoretical and didactic. Like the first, the second book of The Well-Tempered Clavier features a prelude and fugue in each of the 12 semitones of the chromatic scale, covering all of the 24 major and minor modes. Produced almost twenty years after the first book, this collection is a sort of follow-up. Though less frequently heard than it's predecessor, it nevertheless contains pieces of great beauty covering a wide stylistic range, and demonstrates a mastery of counterpoint that never outweighs emotion, beauty and aesthetics. Occupying a key position in Bach's output, the second book of the Well-Tempered Clavier points ahead to the major cycles of Bach's last years and presents 'sheer masterpieces from beginning to end', to quote Johann Nikolaus Forkel, the composer's first biographer.

San Francisco-based Cantata Collective continues it's exploration of J.S. Bach's major choral masterworks with a third in the ongoing series, pairing the composer's Easter Oratorio and Magnificat. Released in time for Holy Week, both works are lavishly scored and feature some of Bach's most festive and popular vocal writing. With celebrated baroque music specialist Nicholas McGegan on the podium, and a roll call of today's finest early music vocal soloists, this release is poised to build on the auspicious previous releases - a "bold and beautifully constructed" St. John Passion (BBC Radio 3 Record Review), and "an exemplary performance" of the Mass in B Minor (American Record Guide).

This captivating collection celebrates the timeless sounds of the historic city Salzburg. Under the expert baton of Reinhard Goebel, renowned conductor and professor of historical performance practice at the Salzburg Mozarteum, this recording transports you through the vibrant tapestry of musical culture that defines Salzburg. The Mozarteumorchester Salzburg, celebrated for it's unparalleled interpretation of Mozart's style, takes you on an exhilarating journey through the organ sonatas, exploring how they seamlessly transition into other stylistic periods.

Second disc of the great accordionist Philippe Thuriot on Challenge Classics. After arrangements of Scarlatti Sonatas (CC 72994), Philippe plunges in a more daring project: improvisations on Bach's music. The result is amazing for the imagination, inventiveness and inspiration - while always remaining in the domain of the respect and love to Bach's music. A disc you listen with constant curiosity, pleasure and interest from start to the end.

Since it's foundation in 2017 and it's inaugural performance on the occasion of the opening ceremony of the Carmen Wurth Forum, the Wurth Philharmonic Orchestra has been impressing audiences with a broad repertoire ranging from classical to contemporary compositions in it's role as the orchestra in residence. The orchestra is a further milestone in the Wurth Group's cultural commitment, in addition to it's artistic activities. Claudio Vandelli has been principal conductor of the Wurth Philharmonic Orchestra since 2020. With it's powerful sound and nuanced interpretations, the Wurth Philharmonic Orchestra brings music of exceptional quality to it's home region of Hohenlohe, making it unique in the region as a professional symphony orchestra.

Julian Jaeyoung Kim, a South Korean-born pianist, is hailed as a marvelous virtuoso. His performances embody a deep sense of commitment and a relentless curiosity about uncovering the true essence of music. "Julian's flexible and intelligent interpretations reflect his command over rhythmic tension and tonal detail, evoking echoes of masterful pianists like Nelson Freire." Gramophone "Julian Kim's technical brilliance shines in every piece as he draws out the full richness of the piano's sound. With style, precision, and sensitivity, he navigates dramatic, heroic, entertaining, and humorous moods with ease and elegance." Klassik Heute

First disc by Alessandro Deljavan on Challenge Classics. Pupil of, among others, Nabore, Berman and Bashkirov, Deljavan chose some masterpieces of Chopin repertoire which have been recorded hundred of times. But, as usual with him, the listener has the impression to hear them anew, afresh: Deljavan has a thoroughly individual if not idiosyncratic approach to this music. Some may nor like it, but some will find and will hear surprising, revelatory things they never heard before. Pizzicato wrote: Technically brilliant and with an exceptional imagination, Alessandro Deljavan brings finesse and spontaneity to Chopin's Etudes.

Kristjan Randalu reimagines Schubert's Winterreise with a unique blend of classical and jazz influences. Collaborating with Estonian-American bassoonist Martin Kuuskmann, the duo creates a distinct sound through the combination of piano and bassoon, offering a completely new sonic landscape for Schubert's work. This innovative reinterpretation brings a dynamic and expressive twist to the original, blending emotion and spontaneity in a fascinating way.

Mozart may have died heavy in debt, having encountered much fickleness on the part of the Viennese audiences and struggled to find suitable permanent employment for most of his career, but today his music is celebrated the world over; he is considered one of music history's greatest names, the vast majority of his works enjoying regular performances and being constantly reinterpreted by amateurs and top professionals alike. Stretching from his earliest years (Mozart started composing at the age of five) right through to his final days, this wonderful compendium traverses the full gamut of his output, covering the time spent in Salzburg working for his employer, the Archbishop Colloredo, the extensive travel he undertook during the 1760s and 1770s (which was in part to showcase his prodigious talents on the keyboard and violin, together with his talented sister Nannerl), and his later years in Vienna, to which he escaped in 1781 - against his father's wishes - to pursue a freelance career and where he married Constanze Weber the following year. What becomes evident from this set is that Mozart packed a phenomenal amount into his 35 years, a life that was often dominated by obsessive overwork, particularly towards the end. Moreover, there was not a genre akin to the period that he neglected nor did not achieve success in (in this collection the works are ordered as such, traversing orchestral music, chamber music, solo instrumental music, sacred music and vocal music), and in many cases he effected transformation, attaining new artistic levels - this is particularly evident in the piano concertos that begin the compendium, remarkable for their diversity of character, and the concluding mature operas, works that achieved new depths of characterisation. A more varied, colourful output you could not find, one that is enhanced in this release by the multitude of talented performers assembled. At the bargain price of €110, this 170-CD box set is not to be missed, affording hours of pleasurable listening that will satisfy both Mozart aficionado and novice. Other information: 170 CDs representing the entirety of Wolfgang Amadeus Mozart's oeuvre in historically informed performances. This includes all the concertos, chamber music, divertimenti, sonatas and of course the operas. For reasons of completeness, pure musical enjoyment, scholarly research, attractive, space-saving design and price, you cannot afford to be without Brilliant Classics' improved Complete Mozart Edition. Featuring numerous period-instrument and award-winning recordings. Extensive liner notes and sungs texts available for download, by clicking on 'Download booklet' below the cover.

The youngest musician ever to win the International Tchaikovsky Competition Cello Division, exciting American cellist Zlatomir Fung has collated an album of opera fantasies including Fantasy on Jenufa which he arranged himself and a Fantasy written especially for him - Fantasia Carmen - by composer Marshall Estrin. After extensive research Fung found these fantasies for cello used recognizable tunes from famous operas to create a free medley and that there are few rules beyond the pure expression of the composer's personality, interests, and strengths as a cellist. But it's more unconventional elements reimagine the notion of the fantasy itself, proving that the genre's possibilities are far from exhausted-and, indeed, may only be in their infancy. After his Tchaikovsky competition win, Fung has garnered accolades, critical acclaim and standing ovations at performances around the world, more and more widely recognized as one of the preeminent cellists of our time. Astounding audiences with his boundless virtuosity and exquisite sensitivity, the 25-year-old has already proven himself a star among the next generation of world-class musicians.

Johann Sebastian Bach's stature as a composer of extraordinary talent and widespread influence is so firmly established in Western culture that it is difficult to believe that only 150 years ago his works lay in veritable obscurity, unknown to all but a small group of scholars. It is largely thanks to ohn, who essentially effected a revival of the composer's music through his rediscovery and promulgation of the St Matthew Passion, besides other pieces, that his works are today regarded as pinnacles of music expression. That they are among the most performed and widely attended is in no doubt; in Holland alone, thousands of singers and musicians are involved in dozens of performances of the St Matthew Passion in Holy Week, with hundreds of thousands listening in churches and concert halls, or gathered around the radio, to what has been described as 'the Gospel according to Bach'. Bringing together all of his works, this dynamic 142-CD set offers a resounding impression of this great spirit of our Western culture, presenting dynamic performances - many period-based, many acclaimed by the international press - that are divided according to genre, thus making for a highly user-friendly compendium. The set draws on all periods of his career, tracing the development of a style that was much influenced by contemporary and past fashions but which was always adapted to Bach's own purpose, often far surpassing the models on which he drew. The German composer travelled a great deal from city to city, and the different circumstances of his various positions are reflected in the great range of works comprising his output: while his early years are dominated by much keyboard music, on account of the numerous organist posts he held during this period, later positions at various courts accorded him more personal and artistic freedom - in Cothen, for example, Prince Leopold's passion for music-making and his renowned resident orchestra resulted in a string of unforgettable works including the Brandenburg Concertos, the Solo Cello Suites and the Well-Tempered Clavier Part 1, beside many others. Bach was a master of all genres, whether sacred, secular, instrumental or vocal, and his oeuvre is a rich mixture of severe Baroque craftsmanship and expressive Romanticism. Thomas Zehetmair, Kristof Barati, the Gewandhausorchester Leipzig, Rene Jacobs, Peter Schreier and Lucia Popp are just a handful of the first-class performers and ensembles gracing this set. At the bargain price of €100, it is a collection not to be passed up. Other information: - 142 CDs representing the entirety of Johann Sebastian Bach's oeuvre in historically informed performances. This includes all 200 sacred cantatas recorded for Brilliant Classics on period instruments and sung by the Holland Boys Choir. - For reasons of completeness, pure musical enjoyment, scholarly research, attractive, spacesaving design and price, you cannot afford to be without Brilliant Classics' Complete Bach Edition. - Extensive liner notes, sungs texts and complete tracklisting with performers available for download, by clicking on 'Download booklet' below the cover.

Violinist Arabella Steinbacher, the Luxembourg Philharmonic and conductor Gustavo Gimeno present violin concertos by Beethoven and Lentz. Beethoven's violin concerto may well be the most iconic contribution to it's genre, and to Steinbacher, it is the most "sacred" and sublime in the repertoire, never ceasing to reveal new perspectives. The piece is coupled with Georges Lentz' Violin Concerto '... to beam in distant heavens... ', written for Steinbacher and inspired by her virtuosity. Lentz' concerto is equally inspired by William Blake's poetry, as well as the idea that a future generation will one day look back on us and the way we destroy our planet. Oscillating between violence and angelic visions of love and hope, it places heavy demands on the soloist, and offers an illuminating counterpart to Beethoven's equally searching and idealist work. Luxembourg Philharmonic and Gustavo Gimeno are the ideal partners for this cosmic, adventurous pairing. Arabella Steinbacher is a multiple award-winner with an extensive PENTATONE discography, including Bach & Part (2023), Mozart's complete violin concertos (2014 and 2021), Four Seasons (Vivaldi & Piazzolla, 2020), Mendelssohn & Tchaikovsky Violin Concertos (2015) and many others. The Luxembourg Philharmonic and Gustavo Gimeno released composer monographies of Coll (2021), Franck (2020), Rossini (2019), Debussy, Stravinsky & Mahler (all 2018) as well as Ravel, Bruckner and Shostakovich (all 2017) on PENTATONE.

Oboist Celine Moinet has already released three albums on Berlin Classics with music by Bach, Schumann and French composers. Now she returns with an album, where she pairs Mozart's Adagio for English Horn K580a and Oboe Quartet with world premiere recordings of the works by Luigi Gatti: Quartet in F major and C major. The Italian composer settled down in Salzburg in 1782, when he was already an acquaintence to the Mozart family. Worth discovering are Gatti's chamber works, created during his later years as a retiree after the secularisation and dissolution of the Salzburg prince-archbishopric in 1803. These works reveal him as a skilled and inventive master of form, as well as an experimenter in instrumentation. The F major quartet, in particular, presents considerable virtuoso challenges, including passages that push the oboe's range even higher than Mozart's quartet, reaching up to high G (g'). This daring extension of the oboe's tonal possibilities marks Gatti as an innovator and serves as a testament to his creative spirit.

The large-scale Bach Organ Landscapes project featuring J.S. Bach's entire organ oeuvre recorded on a range of instruments aims to provide an overview of organ-playing and organ-building traditions that were key to Bach's composing. With a keen eye to the unique cultural organ legacy of the places associated with Bach, Halubek has placed Bach's original sound at the heart of his project. The recordings are accompanied by digital material that offer an almost tactile access to the great composer's sound universe.

J.S. Bach's first Clavier-ubung - the Partitas - is an important work which holds a particular status: it is the first major publication by a great musician at the height of his maturity - he was 46 - and already a living legend. A large part of the challenge it poses can be found in this contradiction; that a hurdle must give the impression of ease. Art must conceal art itself. My intention was to play them as I would wish to hear them, such as I thought they might be heard: here then is a proposal. And if this proposal incites a desire to delve further, my goal will have been achieved.

Young violinist Gabriela Balcerek, only just at the beginning of her career, confirms her great talent and natural musicality with her already second album recorded with the Sinfonia Viva orchestra. The repertoire of the album consists of stylistically diverse pieces, from Romanticism to the present; moreover, they represent the most famous violin and chamber miniatures. These are compositions by Polish and foreign composers, in which stylized folklore is intertwined with truly Romantic passion. Arranged by Tomasz Radziwonowicz for solo violin and string orchestra, they gained a new, fresh sound, in which the dense harmonic structure and parts of individual instruments approached as if they were solo instruments draw attention. Young violinist Gabriela Balcerek, only just at the beginning of her career, confirms her great talent and natural musicality with her already second album recorded with the ensemble. This is a cheerful album, at which the listener will smile more than once, following it's title. The joy of love, but also of youth and of celebrating music among artists who share energy and passion, can be heard in every sound.

Brahms's Third Piano Quartet gestated for a long time - the first sketches were made in 1855, whilst the work was not completed until 1875. Numerous commentators tie the work to Brahms's infatuation with Clara Schumann, who certainly heard many of the various iterations of the piece before it's final version. But Brahms did not write programme music, and whatever his motivations may or may not have been, the result is, like the rest of his output, pure music. Louise Heritte-Viardot was a French singer, pianist, conductor, and composer. She was born in Paris, the eldest child of Pauline Viardot-Garcia and Louis Viardot, and sister to the violinist and conductor Paul Viardot. Her singing career was cut short by illness, but with the help of Clara Schumann she found a second career as a singing teacher at the Hoch Conservatory, in Frankfurt. In contrast to Brahms's quartet, Viardot's work is extremely programmatic. Titled I'm Sommer (In Summer), it comprises four movements which also carry evocative titles: 'Morning, in the Woods', 'Flies and Butterflies', 'Sultriness', and 'Evening, under the Oak-tree'.

Richard Lin, the 2018 winner of the International Violin Competition of Indianapolis releases his debut recording. Performed with passion and flare, Lin is joined by renowned pianist Thomas Hoppe in music of Richard Strauss, John Corigliano, Gershwin/Frolov, Vitali, and Debussy.

The renowned Genova & Dimitrov Piano Duo celebrates it's 30th anniversary in 2025. The duo has been honoured with numerous international awards and recordings. With the recording of all of Debussy's works in three volumes for piano duo, the Genova & Dimitrov Piano Duo is now appearing on the Oehms label. The programme includes both well-known and lesser-known works, some of which are versions of orchestral works such as the famous Prelude a l'apres-midi d'un faune. The recording was made in co-operation with WDR Broadcast.

Young pianist Ariel Lanyi is already an established figure on the concert stage. After making his recording debut as part of the Royal Academy of Music Bicentenary Series and winning third prize at the Leeds International Piano Competition in 2021, he received the prestigious Prix Serdang in 2023 from Rudolf Buchbinder. In contrast to the intimacy of his Schubert album, Organ Reflections is a project on a more epic scale. Often called the 'King of Instruments', the organ has been a defining presence in classical music, inspiring composers like Bach, Brahms and Messiaen. In this album, Ariel performs works by three virtuoso organists that combine the idiomatic grandeur of the organ and the flexibility of the piano. From Mozart's serene Andante to Franck's lyrical Prelude, Aria et Final and Reger's monumental Variations and Fugue on a Theme by Bach, each piece reflects a unique blend of the sound worlds of both the organ and the piano, showcasing the enduring legacy of this most majestic instrument.

It is a mammoth project that the Stuttgart International Bach Academy has undertaken: All sixty cantatas from Johann Sebastian Bach's first year in office as St. Thomas Cantor will be performed in a total of 23 concerts and recorded on CDs. Vol. 7 is now available should convince even skeptics. For what Hans-Christoph Rademann, his Gaechinger Cantorey and hand-picked soloists reveal here in terms of vocal-instrumental coordination, tonal differentiation and rhetorically trained creative artistry probably marks the pinnacle of historically informed performance practice at present. The choir presents itself extremely agile in fugal passages, but also with sufficient sonorous warmth in the chorales, and the orchestra with it's excellent soloists (trumpet!) matches this level. We can look forward to further releases in this series.

The arrangement of Schubert's songs on this album does not correspond to the order we know from conventional editions or from most recordings. Although often referred to as such, Schubert's Schwanengesang is not his third song cycle. It is, in fact, a collection of 14 of his late songs. What particularly motivated us as performers was finding a new, individual approach that is expressed not only in the order of the songs as we chose them, but also in our personal emotional response to each of the songs. We wanted to convey this individuality to you, our listeners, as vividly as possible, so you could experience the emotion and atmosphere of each song as directly as Schubert and his singing colleagues did in the bourgeois salons of Vienna at the time." Kresimir Strazanac In addition to Schubert's Schwanengesang, the album includes three thematically related songs by the British composer Mary Frances Allitsen.