In 1937, a Viennese antiquarian sells a comprehensive lute tablature, which then ends up in Lviv in today's Ukraine. For decades, the tablature is out of reach and subject to wild speculation. Today, it once again reveals European Renaissance masterpieces, presented here on this album. Bernhard Hofst�tter's lute playing has been described as "adeptly combining technical ease with a masterful sense of phrasing" (Lute Society of America) and demonstrating "a refined rhythmic sensibility and understanding" (International Record Review). His recordings of the music of the 18th century lute virtuoso Silvius Leopold Weiss have been hailed as containing "some of the most sympathetic and beautiful Weiss-playing yet committed to disc" (Gramophone). To date, Hofst�tter has published four solo albums which shine an imaginative and colorful light on the lesser known musical landscapes of the 17th and 18th centuries. His recordings have been met with international critical acclaim.

Leistner-Mayer strives for a comprehensible music, without clinging to well-established styles, pandering to nostalgic wishful thinking or paying homage to non-committal postmodernism. “The great inner complexity of the artistic experience does not have to result in greater structural complexity. Quite the opposite: Roland Leistner-Mayer has searched unwaveringly for the simplest and most direct expression of the internal necessities. Through this, he has developed a personal style where vehement attacks and long spun out cantabile lines are always part of a logical implementation of the harmonic plan. Only the musical essence counts; there is no sound for sound’s sake.” (Christoph Schlüren) Roland Leistner-Mayer wrote the string quartets Nos. 5, 6 and 7 (edited and published by Vogt & Fritz, Schweinfurt) between 2014 and 2016. All three are in several sections (four to seven movements) and ca. 25 minutes long. This performance by the Sojka Quartet is the first studio recording of these works.

Gustav Mahler, Othmar Schoeck and Richard Strauss: Britta Glaser introduces herself to classical audiences with these three great composers of Lieder. The many-faceted interpretations of the young soprano and pianist Matthias Veit cast a subtly modulated light on the themes of love, humanity, nature and death, reflecting on the mortal and metaphysical, and the eternal cycle of creation and decay.

This album brings together eight composers with very diverse works. Only upon closer examination do we perceive the connections between pairs of works on the recording, though each time of a different kind. We thus have the Beethoven/Brahms duo- the model and emulator, both firmly rooted in the German musical tradition; Suk-Martinu- the teacher and pupil, each also influenced by Eastern European folk music; Faure/Elgar- two representatives of late Romantic tone painting in Western Europe; and finally, Popper/Ginzel-two cellist-composers who know and take delight in every subtlety of their instrument. Reiner Ginzel studied with the eminent teacher Professor Karl Grosch, a student of the legendary cellist Julius Klengel. He perfected his abilities taking part in various master courses, and during this period was a prizewinner of national and international competition. After several years as solo cellist in the most renowned German orchestras, he was called to the University of Music and Theatre in Munich as professor. He is also a member of the German String Trio with which he has produced more than 30 albums. Annette Weisbrod, Swiss pianist brought up in England, is at present one of the most eminent musicians in Switzerland. Concerts as soloists, chamber musician and accompanist have taken her all over the world, from Europe to America, from Chile to China, and she has done several world tours, Radio broadcasts and over 4 dozen records to testify to her range and versatility.

Among the dry-cleaned competition champions arise a few young personalities whose musical ability and individuality are truly compelling. Yojo Christen (born in 1996) is a true young artist whose musical conviction and enthusiasm are infectious. On this project Yojo recorded Haydn, Mozart and Beethoven works alongside his own compositions.

“Hanna Bachmann plays with great musicality, creativity and technical skill. Her delicate sound and her interpretation speak of a mature personality at the piano,” Kirill Petrenko, chief musical director of the Bavarian State Opera, writes about the young pianist. With her Debut album, Bachmann is introducing the listener four great works for piano, including both finales of Schumann's Sonata No. 2! Ms. Bachmann (born in 1993) received her first piano lessons at the age of six. When she was twelve, she started attending Ferenc Bognar‘s class at the Vorarlberg State Conservatory in Feldkirch and then moved to Florian Krumpöck in Vienna. Since 2011, she has been working with Pavel Gililov at the Mozarteum Salzburg. There, she completed her Bachelor degree with distinction in 2015. She received further artistically valuable inspiration from Elisabeth Leonskaja, Elisso Virsaladze, Barbara Moser, Arbo Valdma, Ya-Fei Chuang and Daejin Kim, amongst others. Hanna Bachmann has won prizes in both national and international piano competitions, most recently the first prize at the 'International Bachelor Piano Award 2015' in Düsseldorf.

Time and again, Carl Philipp Emanuel Bach's (1714-1788) music undergoes fascinating metamorphoses in the interplay with instruments and interpretation. Inspired by these, the flute (Katalin Horvath, transverse flute) participates in a lively dialogue with the manifold timbres of harpsichord, clavichord, square piano (Eva Maria Pollerus), and cello (Thomas Platzgummer). This results in a multifaceted and highly musical recording portraying the development of almost the entire productive period of the composer.

On this CD, Angela Cholakian, who has become a synonym for passionate performances of new discoveries and original, radical interpretations of Romantic works, shows her creative talent in both these genres in a fascinating combination. Chopin and Liszt are contrasted with Babajanian’s obsessive “Polyphonic Sonata” and Hummel’s meditative, virtuoso Piano Sonata “Hypnosis”. Cholakian’s emotionality radiates through every bar. “Hypnosis” was composed with an improvisatory method, which takes place in a trance-like state. “It’s polyphony is reminiscent of a genetic code laid in a solvent, where it sets off a process of disintegration and adherence that advances slowly but steadily.” (Franz Hummel) Also featured on this release is Atavistic Music, which is also an improvisatory piece. No stipulations regarding character or intention are planned in advance. The style is thus a psychogram of the individual player. A truly unique and fascinating programme!

Classical Music

This is Christoph Preiss’s second album, following his debut released which was praised by press and audiences alike. At the young age of fourteen, Preiss has been acclaimed by critics as an unusually gifted pianist, and is no doubt on his way to a career of fame. Along with two Beethoven sonatas, a Greig sonata and Liszt’s “Funerailles,” this album also includes a composition by the artist himself, entitled “The Martian.”

J.S. Bach's 6 English Suites (BWV 806-811) were written around 1715 during Bach's time at the court in Weimar (1708-1717). In spite of their title, most of the English suites begin with a large-scale polyphonic Prelude in the style of the Italian concerto grosso, whereas most of the dance movements are written in the French manner. The Prelude of the sixth suite (BWV 811) featured on this album is preceded by a slow introduction, which gives the piece some extra length and weightiness. The Gigue of this suite is particularly challenging because of its frequent organ points that are sustained by long trills, to be played against other voices in the same hand. Technically, this texture can be seen as a precursor of the so-called "Beethoven trill". The Prelude, Fugue and Allegro in E-flat major (BWV 998), written about twenty years after the English Suites, were conceived for "lute or harpsichord". Written in the soothing key of E-flat major, these pieces evoke a pastoral mood. The final selection on this recording (Suite) is Gustav Leonhardt 's (1928-2012) G minor arrangement of the second Violin Partita in D minor (BWV 1004). This transposed version makes exquisite use of the harpsichord's sonoraus potential. The famous Ciaccona, well known from a number of famous transcriptions for piano, concludes this suite. The harpsichord played on this recording was made in 1976 by Martin Skowroneck (1926-2014) after an original two-manual harpsichord from 1728 by Christian Zell. The instrument's plectra are made of bird's quill.

It characterizes both the sacred and the secular works on this CD: longing for quiet, departing of the beloved, and a romanticized conception of death throughout the lyrics. • The Ensemble vox animata’s debut gives an idea of the huge spectrum of German a capella music of the 19th c. • This implies multi-faceted challenges: from the Lied for choir, various folksong adaptations, narrative romances and ballades to the sacred motet. • Soulful singing, eager search for color and expression, and existential enthusiasm are vox animata’s mottos on this brief, touching, romantic, choral musical journey.

The Joachim Wollenweber Edition series is dedicated to bringing public attention forgotten composers of the classical and romantic periods. Including sheet music in tandem with collaborations with top performers and musicologists, the CDs comprise a third wheel of the presentation. Volume 3 of this series is 'Romantic Duos' featuring moving compatibility of the fantastic Anna Kreetta Gribajcevic (viola) with Oliver Triendl (piano) in deeply engaged performances with these chamber pieces by Friedrich Kiel, Carl Reinecke and Prince Reuss and more.

Immerse yourself into the magic of the Russian soul: Mystery, humility, joy, risk, and unpredictable emotions will take you into this world - with the Taiwanese-based composer Mikhail Kollontay, Nai-Yueh Chang, who in the Viola Concerto discovers the polar sides of the Russian music, the great RTV Symphony Orchestra Moscow, and the pianist and conductor Alexei Kornienko, who with his work in Austria always gives new wings to the Russian musical voice. Mikhail Kollontay graduated from the Moscow Conservatory in 1971 with a double major in piano and theory/composition. Between 1979 and 2003 he returned to his alma mater as professor, and from 1989 to 1991 he served at the Gnessin Musical Pedagogical Institute.

This title lives up to it's expectations. It's an album full of baroque music, full of animal voices and thus full of baroque aesthetics and fascination.