Springsong introduces 10 original compositions: 7 piano solo, 3 with a string trio. Maxence's pieces are often short (2-4 minutes) and evoke images ('Ballerine', 'Candle'), moments of calm ('Horizon', 'Silence'), nature, and the elements, which also play an important role in the program ('Springsong', 'Daffodils', 'Orage', 'Le Bleu du Ciel').

Radamés Gnattali (b. Porto Alegre, 27 January 1906; d. Rio de Janeiro, 3 February 1988). Brazilian composer, pianist and conductor. Although classically trained his working life was dominated by popular music. His influence on the arrangements and orchestrations of Brazilian popular music was powerfully felt through his weekly broadcasts on Rádio Nacional which began in 1938, and continued into the mid 1950s. His own compositions are a conscious fusion of classical and popular idioms. Even though Gnattali’s association with popular music undoubtedly prejudiced his reception as a classical composer he was never critical or dissatisfied with Brazilian music. Even towards the end of his life he could say ‘I have never been frustrated with making popular music. I do it gladly and enjoy it very much …If I had gone to Europe, I might have been a great pianist – because I had the qualities for it – but I would never be a Brazilian composer’. This programme is primarily drawn from Gnattali’s earliest works. In this period he is either writing melodies in a popular style, or using folk melodies directly, and the characteristic shape of Brazilian song is never absent for long.

Ludwig Daser’s life and work encompassed both Catholic and Lutheran courts, at Munich and Stuttgart respectively. Cinquecento’s programme—which, besides the substantial Missa Pater noster, includes a selection of Latin motets and German chorale settings—illustrates a variety of styles and genres from both, offering a welcome introduction to this lesser-known master from the sixteenth century.

Performing on the Taylor & Boody Organ of Sidney Sussex College, Cambridge, the critically acclaimed organist Stephen Farr presents a rare exploration of the keyboard works of William Byrd on the organ. This historically informed instrument is made in the early English style and makes a fitting tribute in this, the composer's 400th anniversary year.

Angela Hewitt’s voyage of discovery through Mozart’s piano sonatas is proving a joy, the works sounding newly minted in vital, alert accounts which respect their scale and sensibility while revealing influences of Mozart’s orchestral and concerto writing of the period.

Dieter Moebius (16 January 1944 – 20 July 2015) is one of the most important protagonists of avant-garde electronic music in Germany. Best known as a member of the influential krautrock bands Kluster/Cluster (with Hans-Joachim Roedelius) and Harmonia (with Roedelius and Michael Rother of Neu!), he collaborated with musicians including Brian Eno, Conny Plank and Mani Neumeier (Guru Guru). On October 6th, Curious Music are set to release his posthumous album ‘Aspirin’, completed in 2005, but never released.

"The starting point was Beethoven’s Sonata op. 111, but this little piece ‘Vers la flamme’ by Scriabin exemplifies an idea, and the title is ideal for the whole album. The idea is a journey from the earthly to the light, it is about the question of how life and death are connected. Now you can say that it is generally a function of music that it catapults you into a new level of consciousness. But I think the four works on this album do that in a special way, they radiate a tremendous power. They reflect different personal worlds, were written at different times and spring from different genres and sound ideas, yet they all have a similar function.”

Midway through the Mandingue groove inferno that is “Dakan Sate, Korotoumi” I knew I had found a gem. Hypnotic guitar solos, heavy bass riffs, psychedelic organ lines, and funky horns… what more could you want?

„Another Time: The Hilversum Concert“ is a rare, never-before-issued recording of the legendary Bill Evans trio featuring Eddie Gomez on bass and Jack DeJohnette on drums, captured live at the Netherlands Radio Union Studios in Hilversum on June 22, 1968. This is only the third known recording in existence of this particular trio, who only performed together as a trio for a six month period in 1968, and was originally recorded and broadcast on the radio program Jazz in Actie by Dutch producer Joop de Roo. For the audiophile, this is possibly the best sounding live recording of Bill Evans found to date, captured with the then state of the art equipment of the NRU, and kept in pristine condition over the years.

Available in its entirety for the first time! This legendary '62 performance was an instant classic when it first came out, but now it's back with 18 tracks (12 on cassette) that have never been released. Includes Rags to Riches; (I Left My Heart in) San Francisco; That Old Black Magic; Fascinating Rhythm; I'm Just a Lucky So and So, and more.

Do you know Duni? Martin Wåhlberg and Orkester Nord take you on a journey of discovery of the father of opéra-comique through two of his emblematic works: Les deux chasseurs et la laitière, and Le peintre amoureux de son modèle, recorded here for the first time.

After recording the second of Bach's four Clavier-Übung volumes, the harpsichordist Aya Hamada turns now to the last one: the legendary Goldberg Variations. The discography of the work is vast, but here Aya Hamada has chosen to perform it on an exceptional instrument: the 1624 Ruckers belonging to the Musée Unterlinden in Colmar. Recently restored, this harpsichord boasts a palette of rich, authentic tones: dark in the bass, like crystal in the high register. With it's unique timbre, this instrument enables the harpsichordist to give full expression to the successive metamorphoses of the poignant initial Aria, on which Bach built his greatest keyboard masterpiece.

From the late 17th century until well into the 18th century, Alessandro Scarlatti was one of the most important figures in European musical life, influencing musical development in both opera and instrumental music.

Oliver Schnyder, probably the most promising Swiss pianist of his generation, has recorded the soundtrack to a film by Heinz Bütler about the Swiss painter Albert Anker. A selection of the most beautiful and popular "Lyrical Pieces" by Edgard Grieg is musically set to the multi-layered portrait of the Swiss artist. The film "Malstunden bei Raffael" (Painting Lessons with Raphael) opens up the work, thinking and life of the great Swiss painter for the first time in a cinematic way far beyond the well-known and often clichéd: In "Albert Anker. Painting Lessons with Raphael", a "room of wonders" is the starting point of the journey through time to Albert Anker (1831-1910).

In Passacaglia, violinist Pavel Berman and pianist Maria Meerovitch perform two violin sonatas characterised by their contrasting passacaglia finales: Respighi’s Violin Sonata in B minor and Shostakovich’s Violin Sonata in G, Op. 134. Shostakovich’s work was composed for the legendary David Oistrakh, who once owned the violin now played by Berman: a Stradivarius made in Cremona in 1702.