In February 2001, Franz Bartolomey, principal cellist of the Vienna Philharmonic Orchestra, recorded Johannes Brahms' famous First Sonata for Cello and Piano, Op. 38 in E minor, and an early work, Richard Strauss' Sonata in F major, in the Grand Broadcasting Hall of the RadioKulturhaus. Twenty-five years later, two years after his father's death, his son, cellist Matthias Bartolomey, together with pianist Ariane Haering, now presents the album 'HOMMAGE' with the same programme, supplemented by an arrangement of Schubert's Moment Musical, Op. 3. For Matthias Bartolomey, his father's recording, and in particular his interpretation, marks an extremely formative period in his musical career. The sonatas by Brahms and Strauss were part of the soundscape of Matthias's childhood home from his earliest youth. Similar to Richard Strauss's 'Don Quixote', he knew every note, every phrasing, and every portamento of his father's playing by heart.

Bart�k, for me, is truly one of the most important composers, on a par with Beethoven and Mozart." In our interview about the piano works on this album, Hungarian pianist D�nes V�rjon constantly expressed deep admiration, a keen understanding of this music, and a strong affinity with the composer's personality. For this musician, bringing Bart�k closer to the audience as a person and an artist is a labour of love. "I grew up with his music. It feels like a mother tongue to me. And I'm interested in everything he wrote, from the earliest works to the late ones. It's so important to see the traditions he came from and to understand how he found his voice as a composer." V�rjon notes that Bart�k was fascinated by the simplicity and sincerity of the people who sang these songs to him. Those two traits probably corresponded with Bart�k's own personality as an artist and a human being. "When I look at photos of him, what I see is a simple, sincere man; there seems to be nothing false or hypocritical in his character. He also seems highly vulnerable. Bart�k spoke slowly, quite naturally, but not much. He never tried to put on a show to win his audience's favour. He was truly an authentic person. At the same time, he had the energy and temperament of a volcano rumbling inside him - an energy he harnessed with an astounding amount of sheer discipline. The result was a high degree of fascinating, unresolved tension. Bart�k, like Schubert, is one of the composers I find the most moving.

A Timeless Form, Reimagined for Today With Ya Man Itha, Lebanese singer Rima Khcheich brings to life an album she has carried in her heart for decades. It is a deeply personal tribute to the late Egyptian composer Fouad Abdel Majeed, whose music shaped her artistic voice from an early age. In this recording, Rima revisits ten of Abdel Majeed's Muwashahat-classical Arabic vocal compositions often set to poetry and marked by intricate rhythms and modes-and places them in dialogue with the colors and sensibilities of French chanson. At first glance, chanson may seem far removed from the Arabic Muwashah, yet both traditions share a deep commitment to poetic expression, lyrical nuance, and the marriage of words and harmony. This cross-cultural resonance became the spark for the ensemble's refined arrangements, created by Maarten Ornstein, Tony Overwater, and Juan Rodriguez.

The Schwetzingen Festival concerts were dedicated to Chopin in 1999 on the 150th anniversary of his death. Four pianists were invited to the event. Three of them, Lilya Zilberstein, Anatole Ugorski and Andrei Gavrilov were 'stars' of Deutsche Grammophon. The fourth was Idil Biret who had not attained 'star' status as it was only available to those with contracts with the so-called "major" record labels. But, she had been the first pianist ever to record the complete works of Chopin for solo piano and with piano and orchestra for Naxos, received a Grand Prix du Disque Frederic Chopin in Warsaw in 1995 for this and was to be decorated with one of the highest orders of Poland by President Kaczynsky in 2007. Idil Biret did something no other pianist could do. Dr. Peter Stieber wrote: "Your own Chopin evening was then the breath-taking testimony of a great artist. We all could experience together how in your hands the wonderful music of Chopin begun truly to blossom."

Time brings with it many changes in the course of a lifetime. "The only constant in life is change," stated the ancient Greek philosopher Heraclitus. The Italian composer Carlo Alessandro Landini, whose string quartet was premiered by the renowned Arditti Quartet at the Darmstadt Summer Courses in 1994 and has made him famous in Germany since, has always been concerned with change and transformation, both embodying the deepest essence of music. In the meantime, his works have become calmer, more balanced, exuding aesthetic beauty and harmony through their tonal inventiveness. The listener is surprised by the extremely subtle sound visions that the pieces presented here suggest. They could be understood today as counter-designs-probably due to the composer's spiritually oriented creativity-to our restless times. This leads us right into the heart of these four works. In the background of his creativity, Landini believes in the special proximity of all art to the realm of metaphysics. He is virtually inspired by this aspect and sets out in his compositions in search of what holds the world together. His more recent works convey his message of a "world soul" of some kind. His music requires a listener who opens up in order to broaden the shared horizon and feel more strongly what is happening between heaven and earth. Landini continuously unfolds his music from a nucleus. The composer demands intensive, sensitive listening to space and time from himself, his performers, and his listeners. Olivier Messiaen, whose student Landini had been, must have encouraged and inspired him in this.

This release is devoted to the complete set of six Sonatas for Violin and Basso Continuo, Op. 1 by Felice Giardini (also known as Degiardino), published in London in 1751. Born in Turin in 1716, and passing away in Moscow in 1796, Giardini stands as a bridge between eras and styles, forging a distinctive voice, in which diverse musical languages merge with remarkable balance. A virtuoso of string instruments, he masterfully explored their possibilities, during the delicate transition from the Baroque to the early Classical period, an era often defined as the galant style. The Op. 1 collection belongs to Giardini's early years, and it's formal structure reflects typical Baroque conventions: all six sonatas are laid out in three movements, alternating fast and slow tempi, occasionally bearing the markings of stylized dance forms (such as minuets, and gigues) reminiscent of Baroque suites. The main performers of this rediscovery, are I Solisti Ambrosiani (v. tc 681302, tc 670203, tc 670291) with Davide Belosio on violin, Claudio Frigerio on cello, and Nicola Bisotti on harpsichord.

Just in time for the 200th birthday of Johann Strauss II on 25 October 2025, cpo is releasing the complete recording of a comedy that will itself celebrate it's 130th anniversary on 4 December. In Waldmeister, the undisputed king of the waltz once again pulls out all the stops and delivers a delightful comedy whose scandalous mix-ups ultimately dissolve in a high-proof punch. It's distinctive taste features a hero with a botanical title (Galium odoratum) and a series of evergreens - above all, the leitmotif and proverbial "Trau schau wem" ("Trust, but check"), which is enthusiastically taken up by friend and foe alike. This live recording was made during the Staatstheater am G�rtnerplatz's guest performance in Vienna and whose new production contributed to this year's Austrian Strauss celebrations.

Carlo Gesualdo da Venosa (c.1561-1613) was a Renaissance composer known for both his groundbreaking music and the infamous murder of his wife and her lover. While historical records about his personality are limited and contradictory, his music-especially his 104 madrigals-is notable for it's bold harmonic experimentation, centuries ahead of it's time. Composer Peter Navarro-Alonso, long fascinated by Gesualdo, created the hour-long piece In flagrante delicto in collaboration with violinist Christina �strand and conductor Paul Hillier. The composition explores the darkness of Gesualdo's psyche through musical quotations and has been performed and recorded by Ensemble Stralo and Theatre of Voices. Peter Navarro-Alonso is a composer focused on drama, sound, and the human mind, known for exploring timbre and the concept of hope. He has written vocal, chamber, orchestral, and electroacoustic works, and received Denmark's top music honor in 2023. Paul Hillier is a renowned singer, conductor, composer, and writer, known for founding the Hilliard Ensemble and Theatre of Voices. With nearly 200 acclaimed recordings, multiple awards, and honors from both the British and Danish monarchs, he has led major chamber choirs across Europe and is especially noted for his collaborations with composers Arvo P�rt and Steve Reich. Ensemble Stralo, founded in 2016 by four Danish soloists and chamber musicians, combines strings, winds, and keyboard to create a unique and flexible sound. They perform music from the Renaissance to contemporary works, offering distinctive and engaging concert experiences. Recorded November 16-18, 2024, in Garnisonskirken, Copenhagen, by producer Preben Iwan in HD audio format (96 kHz / 32-bit). Available in Dolby Atmos format.

In a society where standardization is a prevalent issue, the release of an album that deviates from the usual music centered around the established repertoire to present an original program should be welcomed with enthusiasm. This same enthusiasm is evident in the two performers' dedication to discovering new repertoires, and delivering passionate, meticulous performances. This discographic project, aims to interpret and promote original music written for violin and saxophone by both past and contemporary composers. Works from the 20th century, (compositions by Adolf Busch and Pierre Max Dubois, included here as tributes to those who recognized the potential of the unusual violin and saxophone duo), are juxtaposed, with compositions by contemporary authors specifically written for Scarpa-Pigato. The variety of styles, unfolds through post-tonal compositions, (Paolo Paglia, and Luca Moscardi), serial works, (Antonio Pessetto), and evocative pieces, (Alberto Piazza). The unusual timbral combination of the violin, and the diverse colors of the saxophone family, creates an innovative and surprising sonic impact. The fervor that the performers bring to their interpretations, is the elusive quality contemporary music has long sought. Dedication to meticulous work, combined with interpretative excitement is a winning combination.

Marco Marazzoli was a composer, harpist, and singer, and as such moved in the highest circles of the clergy. This was certainly not only due to his own priesthood, but above all to the extraordinary quality of his creations. He was born around 1602 in Parma and died in Rome in 1662. He was successful with large-scale works and in the field of chamber music cantatas. Towards the end of his life, he composed a series of experimental vocal works for six voices and a small instrumental ensemble that even satisfied the demands of Christ's representative on earth. After all, in these miniature dramas, the composer and his poets celebrated the Pope as a man of peace, through whose mediation the Franco-Spanish War had ended in 1659. This recognition can still be felt today.

There are such defining moments in life. On the path towards one's own calling, there is an encounter with one of the greats, and everything is suddenly different. For the young Robert Kahn, the moment came on one day in 1886 when he met Johannes Brahms. The maestro from Northern Germany was apparently able to put many sympathetic strings in motion upon meeting the young composer from Mannheim. This resulted in an oeuvre in which his chamber music from duo to quintet often strikes a tone that we recognise from his role model. Without ever copying his mentor, Kahn thrives on his full-bodied and opulent voice leading, which gives the three piano quartets in particular a symphonic dimension. Next to these is the spirited transparency of the Serenade for string trio from 1933, when the music world congratulated Johannes Brahms on his 100th birthday. Robert Kahn is not afraid to occasionally take the master at his word

Jan Von Busch and Johann Blanchard have compiled true highlights from the modest repertoire for the once-so-popular pairing of organ and piano. Recorded exclusively for MDG on the historic W�ldner organ from 1874, the restored instrument harmonises perfectly with the magnificent Bechstein grand piano. The organ's small size creates the possibility of truly balanced music-making with the piano in respect of dynamics, allowing a natural reproduction of French concert halls and salons of the 19th century - a programme of rare value!

The name Johann Stamitz is so inextricably linked to the legendary "Mannheim School" that the title of this production might be viewed as a misprint. In fact, however, there is nothing wrong with the Bohemian musician's "Darmstadt Symphonies," as their name merely refers to the place where the performance material was archived. The parts were prepared by Christoph Graupner, the Kapellmeister of the Darmstadt Court Orchestra at the time. It cannot be determined exactly where and when Stamitz wrote this lively, concise, and innovative music; however, there is no doubt that these compositions take us back to the earliest years of a genre that, despite countless changes, has remained a creative touchstone to this day. To sense the spirit of the birth of the symphonic tradition is a refreshing experience: at the beginning of all things, the power of simplicity reigns.

It's the Viking era. The hero Angantyr has fallen. In his grave, he has taken with him the magical sword Tirfing, a sword that never misses to kill the enemy. His daughter Hervor needs the sword to protect herself from the cruel world of the Vikings. From his grave, Angantyr, who had no sons, demands that his daughter forever must appear as a man in order to retrieve and use the sword. Hervor dresses as the warrior Hervardur, receives the sword, which makes him/her an always unbeatable hero on the battlefields. However, the disguise will eventually prove to be her undoing. A love triangle develops between Hervardur and Vidar, "his" brother-in-arms who, in his way, is in love with Hervor/Hervardur, and Vidar's sister Gullv�g, who has fallen in love with the hero Hervardur, not knowing that he, in fact, is a woman. Gullv�g is courted by the three kings Gestur, Svasur, and Harald. Encouraged by her father, King Gudmundur, Gullv�g asks three riddles to be solved by the courting cavaliers. She will marry the one who can solve them all. But she is, in fact, in love with Hervardur, who succeeds in solving the riddles to Gullv�g's joy. However, Hervardur must (for obvious reasons) reject Gullv�g, which makes Vidar furious, meaning that this is an unforgivable insult to his family. He therefore challenges Hervardur to a duel, whereupon he is killed by the invincible sword Tirfing. Hervardur is proclaimed an outlaw by King Gudmundur. Brokenhearted, Hervardur tells Gullv�g of her true origin and once again seeks out her father's grave, returns the sword Tirfing, and dies.

Brazilian songstress Ros�lia de Souza joins forces with pianist Peter Rosendal (Denmark), bassist Craig Earle (Canada), and drummer Jonas Johansen (Denmark) to form Ros�lia de Souza Quarteto 55�, presenting their self-titled debut album of twelve tracks, set for release on November 14, 2025, on Storyville Records. This vibrant ensemble blends Brazilian, North American, and Scandinavian musical traditions into a fresh, irresistible sound. After three years of sold-out concerts, the album promises a musical experience that radiates energy, sophistication, and joy. The album balances original compositions with Brazilian classics, brought vividly to life with guest appearances. Hans Ulrik's saxophone enriches the opening Samba Do Amor Que N�o Existe, the classic O Neg�cio � Amar, and the reflective Dormilh�o, while Flemming Agerskov contributes flugelhorn on Maria and trumpet on Sugar Reef. Tracks such as Choro Sambado and Dorme, Dorme Meu Menino showcase the quartet's fluid interplay and Ros�lia's agile phrasing, highlighting a unique blend of bossa nova elegance and jazz spontaneity. Named after Copenhagen's latitude, 55� reflects the group's geographical and cultural meeting point, where diverse traditions converge. Born in Rio de Janeiro in 1966, Ros�lia de Souza is recognized worldwide as one of the most compelling interpreters of samba, bossa nova, and Brazilian music traditions. With thirteen albums to her name, she has collaborated with icons such as Marcos Valle and Roberto Menescal, bringing the essence and refinement of 1960s Rio into the present. Her performances are infused with silk-smooth vocals, precise control, and a modern sensibility, bridging deep-rooted Brazilian tradition with explorations into jazz. The trio supporting Ros�lia adds distinctive character and depth. Peter Rosendal blends folk, world, and jazz influences, enriched by his extensive experience living and recording in Brazil. Craig Earle anchors the group with a warm, agile, and virtuosic bass sound. Jonas Johansen, whose career spans more than four decades and over 200 albums, brings orchestral precision and a truly global perspective to the music. After years of international performances, Ros�lia de Souza Quarteto 55� is ready to bring their unique sound to the global stage, inviting audiences everywhere to experience Brazilian jazz reimagined through cross-cultural collaboration.