Milena Wilke was born in Freiburg in Breisgau in 1996. She won first place in the Ton und Erklärung competition (Kulturkreis der deutschen Wirtschaft) 2016 in Berlin and won several other prizes in competitions on both national and international level. In 2017, she was awarded a scholarship by the Studienstiftung des deutschen Volkes und des Richard-Wagner-Verbands Konstanz and was additionally welcomed in the organization Yehudi Menuhin, Live Music Now. For this new release, together with Tatiana Chernichka she has recorded several works for violin and piano and she also has written two pieces herself.

'Mr Hadelich increasingly seems to be one of the outstanding violinists of his generation,' wrote the New York Times after Augustin Hadelich played Dvorák’s Violin Concerto under Czech-born Jakub Hrusa’s baton in 2017. Hadelich and Hrusa have now recorded the concerto with the Symphonieorchester des Bayerischen Rundfunks .

A violinist in a class of his own, Renaud Capuçon shows why he is 'Le Violon Roi'; (The Violin King) in this 3-CD collection. As the leading French violinist of his generation, Capucon records exclusively for Virgin Classics and has a rich discography. The set brings together not only some of his best and most popular performances as a soloist but as a collaborator.

Joseph Suk's Ripening is one of the most amazing of all post-Romantic orchestral works. It is immensely complex in its structure: a celestial introduction is followed by a cogent progress of scherzos and slow movements, of funeral marches and fugues, all concluded by a serene coda. Yet the work is immediately comprehensible as a musical drama, made clear through the coherence of the thematic and harmonic material. Pesek and the Royal Liverpool Philharmonic perform like modern-day deities. They fall short of the heights of Talich and the Czech Philharmonic, but Talich gave the work its premiere. Nonetheless, Pesek gives Ripening his very considerable all: his concentration holds the gigantic structure together as a single arch. Plus, his players articulate every instrumental detail, right down to the beatific wordless women's choir at the work's close. Highly recommended.

The steady increase in recordings of his music has now established Suk as one of the great musical poets of the early 20th century. Too much is made of his affinities with his teacher and father-in-law, Dvorák; for his own part, Dvorák never imposed his personality on his pupils and Suk's mature music owes him little more than a respect for craft and an extraordinarily well developed ear for orchestral colour. His affinities in the five-movement A Summer's Tale, completed in 1909 – a magnificent successor to his profound Asrael Symphony – reflect Debussy and parallel the music of his friend Sibelius and Holst, but underpinning the musical language is a profound originality energising both form and timbre. Mackerras's recording joins a select band: Šejna's vintage performance on Supraphon and Pešek's inspired rendition with the Royal Liverpool Philharmonic; his is an equal to them both and the Czech Philharmonic's playing is both aspiring and inspiring. While their reading is suffused with a feeling for the work's myriad orchestral colours, they recognise that Suk's music is much more than atmosphere. In particular they excel in their handling of the drama and overwhelming emotional urgency of this remarkable, big-boned symphonic poem.

Josef Suk was a pupil of the great Czech composer Dvorák. He married Dvorák's daughter Otilie (who, by the way, was also talented as a composer). Suk began this symphony after the death of his beloved mentor and father-in-law, Dvorák. Otilie died toward the end of its composition, which prompted Suk to recompose it and invest it with even deeper feeling. At that time he added the subtitle, which is the name of the legendary "Angel of Death" who attends the souls of the departed and offers them hope. The hour-long, five-movement work is a passionate outpouring of feeling. The first contrasts two themes representing, on the one hand, destiny and death and, on the other, happiness in life. The second, an Andante, is a funeral march. The third is a scherzo contrasting the dance of death and reminiscences of life. The fourth movement, a radiantly tragic Adagio, is said to be a portrait of Otilie. The fifth movement begins in a stern mood, but gradually offers hope, closing in peace and bliss. It is a deeply affecting work in a style fairly similar to that of Richard Strauss' tone poems.

Four examples of Bohemian Expressionism: Romantic with the tombeau ‘to the memory of an angel’ that Smetana erected to his daughter Bedřiska, and the two pieces that Suk wrote under the influence of Schumann and Dvořák, his father-in-law; and modern with the premiere of the Trio 1978 by the late Luboš Fišer, tormented composer, too soon forgotten, of the 15 Prints on Dürer’s Apocalypse (1965).

For CPO the Minguet Quartet has now recorded Suk's complete oeuvre for string quartet with Matthias Kirschnereit joining them for the early piano quintet. From this early quintet, a cosmos of the most wonderful chamber music spreads out before us, now finally documented by a young generation of artists.

Following the collections of symphonies (Czech Philharmonic Orchestra, Kletzki, SU 4051-2) and violin sonatas (Suk, Panenka, SU 4077-2), Supraphon is now releasing the complete Beethoven concertante pieces. All of them (including the Triple Concerto and the genre-unique Fantasia for Piano, Chorus and Orchestra) came into being within a mere sixteen years, between 1793 and 1809. Although Beethoven deemed the piano "an imperfect instrument", his five piano concertos form one of the cornerstones of his oeuvre and represent a significant landmark in this genre.

Josef Suk (1874-1935), student and son-in-law of Antonin Dvorák, is one of music's hidden treasures. At the beginning of his career, as in the Six Piano Pieces, he wrote a reasonable facsimile of his teacher's music. The first of these pieces, "Love Song," is the best known of the set, but it's not the only beautiful one. "Moods," even less familiar music, is similarly lovely. By the time he wrote About Mother, Suk had been through the experience that was to transform his life: the early death of his greatly beloved wife, Otilie.

This performance of the fiery Fantasy in G minor for violin and orchestra, Op. 24, of Josef Suk, with violinist Christan Tetzlaff catching the full impact of the irregular form with its dramatic opening giving out into a set of variations, is impressive. And Tetzlaff delivers pure warm melody in the popular Romance in F minor, Op. 11, of Dvorák. But the real reason to acquire this beautifully recorded Ondine release is the performance of the Dvorák Violin Concerto in A minor, Op. 53, a work of which there are plenty of recordings, but that has always played second fiddle (if you will) to the Brahms concerto. Tetzlaff and the Helsinki Philharmonic under John Storgårds create a distinctive and absorbing version that can stand with the great Czech recordings of the work. Sample anywhere, but especially the slow movement, where Tetzlaff's precise yet rich sound, reminiscent for those of a certain age of Henryk Szeryng, forms a striking contrast with Storgårds' glassy Nordic strings. In both outer movements as well, Tetzlaff delivers a warm yet controlled performance that is made to stand out sharply.

The Benda family has occupied an important and continuing place in music in Germany for some 250 years. The founder of the musical dynasty, Jan Jiří Benda, was born in 1686 in a village in Bohemia and combined the trades of weaver and musician. He married Dorota Brixi, a member of the Skalsko branch of a distinguished family of Czech musicians, and five of their six children became musicians, working in Germany. There the eldest son of the family, František, composer of some eighty violin sonatas and fifteen concertos, entered the service of the Prussian Crown Prince, continuing as Konzertmeister after the latter's accession to the throne as Frederick the Great.

Another in the long line of outstanding Bohemian musical families the Bendas were similarly part of the diaspora that saw them moving across the continent in search of court and church appointments to further their careers. The Catholic Frantisek thus acquired a new religion as well as a new name becoming the Protestant Franz Benda. He served in Vienna, Warsaw and Dresden in a rapid space of time before following the Prussian Crown Prince, now King, to Potsdam where he was to remain for the rest of his life, having finally succeeded the court favourite and violinist-Konzertmeister Carl Gottlieb Graun.

Super rare David Oistrakh Recording with Vladimir Yampolsky ‎at the Piano. These “Encores” are a vibrant collection of classics and crowd pleasers full of spine-tingling grandeur guaranteed to enrapture.

Anticipating the 50th anniversary of Orpheus Chamber Orchestra in 2022, we present their complete recordings on DG. The intriguing sound culture of Orpheus, especially of the string section, is often explained as a result of the cooperative mindset of the orchestra and its artistic process of rehearsing.