How often do you walk into a situation without knowing what will happen? Do you fear it? Or do you embrace it? The unknown is a ubiquitous phenomenon that can be found in the essence of a person, place, or thing. Many musicians welcome musical situations where they are unaware of what will happen. That could be during improvising or performing with musicians for the first time. Both take an incredible amount of vulnerability and trust. The unknown seems to drive them into a space and time that controls them, not the other way around. And more than likely, that’s what they want it to do. Musicians prefer the unknown to utilize them as vessels to reach their audience or even to experience their own liberation.

The ensemble Aedes began it's musical journey with Poulenc, under the impetus of conductor Mathieu Romano. Here, at the head of Les Siècles, Romano returns to the unclassifiable composer to record two of his major works. In the pious contemplation of the Litanies, here performed in the manuscript version, and the orchestral luxuriance of the Stabat Mater, spirituality is expressed through music that is lively, sensitive and even, at times, sensuous.

Heitor Villa-Lobos was a key figure in twentieth- century Brazilian music, an instinctive creator with a luxuriant imagination, at once provocative and conformist. He forged a personal style by founding his idiom on the melodic and rhythmic traditions of his country and enriching it with all the innovations he found among his contemporaries. His protean music captivates the listener with the diversity of its aesthetic orientations, which exalt his ardent patriotism and find expression in vast epic scores or, on the contrary, in delicious, piquant miniatures.

From Biber’s famous ‘Guardian Angel’ Passacaglia to Guillemain’s ‘Amusements’ and sonatas and fantasias by Matteis (father and son), Pisendel and Vilsmayr, Isabelle Faust offers us a panorama of European music for unaccompanied violin from the second half of the Baroque era. Dreamy or virtuosic, these pieces bear witness to the diversity of inspirations from Italy, France, England and the German-speaking countries - and to their marvellous intermingling echoes.

After the six Op. 18 quartets, the much-acclaimed Chiaroscuro Quartet now turns to two masterpieces from Beethoven’s middle and late periods. String Quartet No. 10 in E flat major, Op. 74, nicknamed ‘Harp’ because of the abundant pizzicati in its first movement, comes across as a genial and unproblematic work that was very well received immediately upon publication and has remained one of the composer’s best-loved quartets.

The music of Gabriel Fauré is at once unclassifiable and inexpressibly beautiful. One must yield to its seductions, savour in it the charm of the unexpected. The cello is the voice of the Fauré mélodie without the words. Its mellowness conceals passion. When Xavier Phillips and Cédric Tiberghien take possession of it, it becomes sensual, incandescent, a bouquet of refined, evergreen harmonies. The Élégie and the Berceuse will never fade, nor will the two late cello sonatas, whose surging vitality is that of a young man of more than seventy!

As an instrument from Italy, one that was exotic and evocative of Mediterranean atmospheres, the mandolin was very much in fashion in France until the end of the Century of Enlightenment: a fact also confirmed by many iconographic and musical sources. Pizzicar Galante, an ensemble that stands today as a benchmark for the interpretation of the galant literature for mandolin and continuo, has been acclaimed for the “finesse, creativity and spirit” (Olivier Fourés, Diapason) and “communicative energy” of its performances (Sébastien Llinares, France Musique).

The double-album project is the result of a multi-year collaboration between Greek Canadian composer Constantine Caravassilis (Toronto) and American classicist, author, and poet Jeffrey Duban (New York City).

Wondrous Machine is the title of an air from Purcell's Odes for St. Cecilia's Day, a hymn of praise to the music of which Cecilia is considered the patron saint, and to the instruments from the flute to the organ, of which she is considered the inventor. Not as an inventor, but as an innovative rediscoverer and ambassador of an equally "wondrous" instrument, namely the historical harp and its "entourage", is Margret Koell. She programmatically places the title "Wondrous Machine" above a project that focuses on the tonal mutability of the triple harp. The programme focuses on George Frideric Handel: the Concerto Op. 7 No. 1 for harp, lute and orchestra is Koell's arrangement of the original concerto for organ and orchestra. The Concerto Op. 4 No. 6 is presented here for the first time in the extremely rarely heard version of 1736 for harp and lyrichord (viola organista) - the latter, a bowed keyboard instrument, is based on sketches by Leonardo da Vinci.

We know Gabriel Fauré the composer well but little the pedagogue. This recording aims to highlight the influence of the composer in France and even in Europe when, in 1896, he became professor at the Paris conservatory taking over from Massenet. The program of this disc wishes to bring together one of the work of his last périod and compositions by his illustrious students: Ravel, Boulanger et Enesco.

An Auditory Survey of the Last Days of the Holocene is a fearless work. It focuses on the environment from an auditory perspective, presenting a catalogue of our created world’s sounds by tallying the noises, echoes, reverberations and refrains associated with environmental degradation that leads to climate change. The sequential recordings of traffic, machinery, drilling, fracking and more serve as a backdrop for musical responses and reflections from the piano and percussion instruments, that simultaneously respond, reflect and develop the soundscape journey from one of hostile discord to one of reconciliation and peace.

Those who have followed Glen Hansard's career since his Academy Award winning turn in the film Once will have witnessed one artistic arc: the journey of a Dublin busker who cut his teeth on the greats - Dylan, Van Morrison, Leonard Cohen - and followed the path of the troubadour to great effect. But there is another thread running through Hansard's musicianship; in his decades as lead singer of Irish stalwarts The Frames, rock and folk ambitions coexisted with moments of strangeness, intimacy, and stillness.

Ravel composed his Piano Trio M67 j ust before enlisting voluntarily in the First World War. Inspired by the Basque country and its zortziko dance, the Trio ends with a sombre, almost anguished fourth movement. A mood inspired by the impending war? In his Piano Trio No.2 , op.67 , Shostakovich too is affected by the horrors of war and the death of a close friend. For the first time in the Russian composer’s output, we hear a Jewish theme, a danse macabre echoing the terrible events of the time. Another point in common between the two works is that both include a passacaglia. For the Busch Trio, it was self-evident that these two heart-rending works should be brought together on the same album.

29 October 1923 was a date steeped in history. In the middle of a year of political and economic crises, the age of public radio in Germany was ushered in with the first broadcast of the "Berliner Funkstunde" (Berlin Radio Hour) from the attic of an office building on Potsdamer Platz. Radio offered entirely new possibilities for the production and reception of music. The two compositions on this CD not only benefited from these developments but also played an active role in shaping them.

Chet Baker's West Coast cool comes to the Big Apple on Chet Baker in New York. The project would be Baker's first – in a four album deal – with the Big Apple-based Riverside Records.