Time flies when you’re being Tunng. Can it really be over two decades since the band’s genre-blurring, self-styled ‘pagan folktronica’ first emerged from an east London studio courtesy of a clutch of Gilles Peterson-endorsed singles on the small but perfectly formed Static Caravan imprint?

What makes Ysaye’s solo sonatas so extraordinary is the richness of their harmonies, offering endless possibilities to explore a vast spectrum of contrasts in sound projection and violinistic effects each time you engage with them.

Jeffrey Lyman (soloist), Daniel Fendrick (soloist), Caroline Coade (soloist), Ian Antonio (soloist), Liz Ames (soloist), Victor Ouzounoff (soloist), Guillaume Sigier (soloist), Quatuor Carnyx (soloist), Su-Anne Lee (soloist), Guilllaume Sigier (soloist).

In 2020, the Lithuanian National Symphony Orchestra and the Kaunas State Choir, under the direction of Modestas Pitrėnas, came together at the National Philharmonic Hall in Vilnius for a remarkable recording of Amilcare Ponchielli's opera I Lituani. This project marks the first professional recording of this work, highlighting Ponchielli's significant contribution to 19th-century Italian opera and connecting deeply with Lithuanian heritage. Drawing inspiration from Adam Mickiewicz's poem Konrad Wallenrod, the opera tells the story of medieval Lithuania's resistance against the Teutonic Knights, exploring themes of freedom, national identity, and sacrifice. Ponchielli's rich orchestration and Ghislanzoni's powerful libretto create a dramatic musical experience that has now been captured with vibrant vocal performances and exquisite orchestration in this new recording. I Lituani, which premiered at La Scala in 1874, has long been recognized for its beautiful melodies and emotional depth. This recording revives a significant yet often overlooked masterpiece of Italian opera, offering a fresh perspective on Ponchielli's profound musical and dramatic vision.

The brand-new self-produced album from multi-award winning Canadian / International vocalist Holly Cole.

Mozart and his family spent 15 months in London when the composer was eight years old. In London he wrote his first symphonies and first vocal works, serving major notice to the world. Those have been recorded before and are included here, but what's novel is the inclusion of music by other composers whom Mozart would have heard in London. Many of the works here receive their premiere recordings, and The Mozartists and conductor Ian Page ably sketch the influences they likely had on Mozart. Some of the influences from J.C. Bach have been recognized before, but Page goes more deeply into them: you can hear Mozart's way of assigning expressive meaning to transitional passagework, uncanny already at age eight, in the music of the "London Bach.

Jakob Dinesen newest release 'Slow Flow' is an album that seeks to convey a dream of a future world at peace with itself.

Le produzioni del Fontamar Consort prendono spunto dalle canzoni del poeta e pianista parigino Jean Fontamar (aka Cyrille Doublet): canzoni d'amore, scritte e composte per la voce della sua consorte, Laurianne Langevin.

‘If you want to know who, for me, is the greatest living composer, I’ll tell you without hesitation – it’s Elgar, whom I place on the same level as my idols Beethoven and Brahms!’ So said the great virtuoso Kreisler.’ Nicolas Dautricourt continues: ‘This Concerto, with its unbridled lyricism and unique proportions, is an Everest for any violinist.’ In this, his first recording for Channel Classics, the French violinist brings together three works by two English composers. In 1888, in the same year Elgar wrote the famous Salut d’amour for his fiancée Caroline Alice Roberts, Frederick Delius composed his Suite for Violin and Orchestra, one of his very first works. The Suite, which only received its premiere in 1984, is heard here in this insightful arrangement by Frédéric Chaslin for violin, piano and string quartet.

Rob Mazurek graces the Keroxen Records waves with a genre defying album of field recordings, modular electronics, trumpet harmonies and spirit call chants.

This new album of chamber works featuring piano brings together Brahms' Piano Quartet No. 3 in C minor, and Schubert’s much-loved Piano Quintet in A Major, ‘the Trout’, delivered by the dynamic and energetic forces of Trio Vitruvi, a Danish ensemble that has risen to become one of the leading chamber groups in Europe since their formation a decade ago.

Sorrow can produce art of great hope and profound beauty. On this CD, four contemporary North American composers give musical expression to the poetry of four women poets and one unknown prisoner - all struggling with love, loss, grief and patience while searching for meaning in the trials of the soul. Featuring mezzo-soprano Sarah Fryer and flutist Brenda Fedoruk, these chamber works are variously combined with cello, piano and harp.

Four years have passed since Young Knives’ last studio outing – 2020’s aggressive and philosophical look at humanity’s propensity for hyper-violence, Barbarians – and during this time the band have taken a step to consider the changing of the world around them, their place in it, and the sometimes-futile pursuit of controlling what it is that we leave behind when we’re gone.

Our dreams and secrets are born from our childhood imagination; they are simple, beautiful, serene and limitless. Aren’t we trying to rediscover the spontaneity, plenitude and simplicity of this childhood? I tried to find this state of mind inspired by the soft sound of the flugelhorn and different influences like jazz, classical, cinematic and electro-pop. These are the influences that I encountered during my musical experience. This album was created to share and to pass on this experience. I aspire to create a journey where only the listener knows the destination. Velvet Syncretism was born of this desire.

The Musikkollegium Winterthur’s Chief Conductor, Roberto González-Monjas, took the three last sympho­nies that Mozart composed – in rapid succession in the summer of 1788 – as the inspiration for this large-scale seasonal triptych. While the first symphony (No. 39) in E flat major has a slow introduction, the last (No. 41), known as the “Jupiter Symphony”, ends with a breath-taking finale, so that “beginning” and “ending” – yes, let’s say “becoming” and “transcending” – are integral to the artistic concept of this trilogy. The central G minor Symphony (No. 40) stands for “being”: for “be­ing in the centre.”