The bold opening chords and immediately following crescendo of the D major Symphony, Op.3/2 (from the early 1750s) immediately established its Mannheim credentials, as do the elegantly sophisticated scoring of the Andantino and the effective use of horns in the Minuet and Trio. E flat Symphony, one of the composer’s last, follows a similar pattern, but the three earlier works (from the 1740s), which are actually designated as ‘Mannheim’ Symphonies are altogether simpler, each with only three movements.

From the middle of the nineteenth century there was a blossoming of nationalism within the creative arts – very notably in music – in Finland that reflected the political mood in the country. From an international perspective, the dominant stature of Sibelius can often overshadow the wide-ranging works of his peers – something that this album goes some way to redressing. Robert Kajanus was the leading figure in Finnish music before Sibelius became established. His Overtura sinfonica is a late work, from 1926, which epitomises his style. Armas Järnefelt was a friend and fellow student of Sibelius, and eventually became his brother-in-law.

Kalevi Aho (b. 1949) has stated that his works have an "abstract plot" driving his music from behind the scenes. His series of (so far) eleven symphonies certainly testifies to this statement; each of his symphonies seems to set out from a fixed point, always to confront the impassable, and always trying to reconcile that conflict in the most poignant and personal of ways.

The acclaimed British pianist, Benjamin Grosvenor, still only 30 and yet a well-established favourite of critics and audiences around the globe, takes Robert Schumann’s haunting Kreisleriana as his starting point in his new album, Schumann & Brahms. This eight-movement work portrays the mercurial personality of the fictional Johannes Kreisler, created by E. T. A. Hoffmann: Kreisler’s highs and lows, and his dreamy nature, clearly mirror Schumann’s own tragic manic-depressive tendencies. Grosvenor responds to the composer’s autobiographical honesty with playing of sublime tenderness, dazzling variety, and imaginative empathy.

In this much requested re-issue, Chandos presents the Norwegian Chamber Orchestra performing Mozart’s Concerto for two pianos and Sinfonia concertante.
Both these works were written in Salzburg. The Concerto for two pianos was intended for performance by Mozart and his sister. With his justly famous Sinfonia concertante, boundlessly energetic in the outer movements and including a slow movement of quite remarkable poignancy, Mozart achieved one of his finest orchestral works before arriving in Vienna.

Sophie Yates’s 1993 debut CD offered a fine selection of French Baroque harpsichord music. For this second disc she has turned her attention south to Spain and Portugal and back to the 16th as well as 17th century. The repertoire, though less familiar, is certainly attractive – delightful examples of tiento and diferencias by Cabezón; Coelho’s compelling Segunda Susana; the ornate traceries of Ximénez and Cabanilles. And all played with a graceful eloquence that is quietly impressive.

Simone Kermes is a highly idiosyncratic performer who delights in pushing the boundaries of good taste, often unafraid to inject her singing with a grab bag of vocal tricks. So it’s surprising that her latest release is that most standard of offerings, one to put next to your favourite singer’s Verdi or Puccini disc – the Handel recital.

Raymond Leppard, CBE (born 11 August 1927, London, England - died 22 October 2019, Indianapolis, Indiana, USA) was an English-American conductor, harpsichordist, composer & editor. In the 1960s, he played a prime role in the rebirth of interest in Baroque music. he was appointed Music Director of the Indianapolis Symphony Orchestra in 1987 (a position which he held for fourteen years).

This work is a major late-career statement by composer Bent Sørensen, born in Copenhagen in 1958. In all likelihood, he will have the satisfaction of hearing it performed often in his old age, for it is an absolutely fascinating work. Much of Sørensen's music has been in smaller forms and closely explores extensions of the tonal repertory of choral singers, but here, he works on a larger canvas. Integral to the project is the text, which he designates as "Curated by Jakob Holtze." Words describing the Passion from Gospel According to St. Matthew are there, but they are interleaved with poetry, most of it in English (even the Danish poetry), by Edith Södergran, Anna Akhmatova, Emily Dickinson, Seren Ulrik Thomsen, Ole Sarvig, and Frank Jæger.

Eclipse are one of the very few bands who managed to bring their 80’s influenced slab of Melodic Hard Rock to the masses. They are now back with the release of their ninth studio album aptly entitled MEGALOMANIUM: a word that well describes the grandiose sound and plans that the band has for their new music.
Coming off their most successful album yet, "Paradigm" (which includes the massive single 'Viva La Victoria' that has almost 25 million streams and counting!), Sweden's Eclipse released their last album “Wired” in late 2020 at the height of the pandemic times. Still, notwtihstanding the lack of touring they managed to continue the path of growth that started when the band appeared at the Melodifestivalen in 2016 with their song “Runaways”.

The ride through H.E.A.T City continues! After hymns of praise from media and fans for their latest album "Force Majeure", Swedish heirs of 80's Hard Rock H.E.A.T promise to deliver more of the same energy with their follow-up "Extra Force"! Last year's most significant change to the band's line-up is the return of original singer Kenny Leckremo – "Extra Force" for the first time includes tracks previously sung by Erik Grönwall now with Kenny on vocals. Everyone who has seen them live knows: these guys give everything on stage! The four in 2022 live recorded tracks capture the energy of their dynamic live performances.

What can anyone add to the praise that has deservedly been heaped on Robert King and the King's Consort's 11 discs of the complete sacred music of Vivaldi? Can one add that every single performance is first class – wonderfully musical, deeply dedicated, and profoundly spiritual? Can one add that every single performer is first class – absolutely in-tune, entirely in-sync, and totally committed? Can one add that every single recording is first class – amazingly clean, astoundingly clear, and astonishingly warm? One can because it's all true and it's all been said before by critics and listeners across the globe.

This well-documented and handsomely presented set is well worth considering. Harnoncourt led the way in ‘authentic’ Bach performances, and in some respects – the slow minuets and the somewhat portentous introductions, for instance – these Sixties recordings differ from more recent practice. But no matter, since the approach is full of life, and the balance allows details to be heard clearly and naturally. The fugal sections are particularly successful.

By comparison with the ambitious, sometimes pioneering products of the last musically active decade of his life (1755-1765) much of Telemann's chamber music is conventional in language if not always in form. Nevertheless, we should guard against any assessment which views it as merely fluent. Telemann's chamber suites and cantatas, solo sonatas, trios, quartets and songs almost invariably carry the hallmark of a composer whose understanding of the voices and instruments for which he is writing is both imaginatively practical and technically informed.

Frontiers Music Srl is pleased to welcome Streetlight to the label family for the release of their new album, "Ignition". An AOR/Melodic Rock band from Jonkoping, Sweden, Streetlight stays true to the genre, delivering distinctive melodies, punchy choruses and strong hooks. Influenced heavily by bands like Journey, Toto, Kansas and Def Leppard, Streetlight creates music that is fun to listen to, melodic and guitar driven, with a sound that reminds you of the times when AOR was at its peak. But Streetlight does not see melodic rock as just a relic from the past. It’s more than nostalgia and music for the here and now.