There can be very few musicians who are capable of making silence as audibly vivid as the Norwegian Bugge Wesseltoft, in particular in his solo piano recordings.For twenty years, the most successful of these,“It’s Snowing On My Piano”, has been treasured as ahaven of wintry stillness and contemplation. It is a classic album. Listeners all over Europe have responded to it by giving it a permanent place in their lives. So nowBugge Wesseltoft and producer Siggi Loch have returnedto the original concept of “Snowing” in “EverybodyLoves Angels”. The title is a metaphor for the kind ofweightless ease which the music conveys; and this timeit's not just for winter…

As a young boy he was trained by his mother to play piano but later decided to exchange the instrument for the violin. In 1928, convinced by Bronisław Huberman (a friend of the family), Szeryng went to Berlin to study under Karl Flesch. His debut concert took place in Warsaw in 1933 when he performed Ludwig van Beethoven's Violin Concerto in D major with Warsaw Philharmonic Orchestra under the baton of Bruno Walter. In the same year he played in Bucharest, Vienna, and Paris, achieving acclaim both from the audience and the critics. In the years 1933-1939 the artist continued to learn violin under Jacques Thibaud and Gabriel Bouillon and studied composition under Nadia Boulanger.

In this wonderful collection of works for two guitars by a group of composers hailing from many spots on the globe, Duo Noire provides a compelling snapshot of the range of expression in contemporary chamber music for the instrument. “Night Triptych” opens with Clarice Assad’s (of the famed Assad guitar family) Hocus Pocus, a dynamic work blending the rhythmic intensity and rich harmonic color of the music from her native Brasil with an encyclopedic understanding of the timbral possibilities on the instrument.

A miniature theatre of the world: This set launches a new complete recording of François Couperin’s works for harpsichord: an extensive selection of vocal pieces and chamber music.

The recording presented here is dedicated to the last two symphonies of Franz Schubert’s earlier compositional period. Both are united by their emergence in the atmosphere of the amateur orchestra founded by Otto Hatwig, in which Franz played the viola, and his brother Ferdinand the violin. This orchestra was a stroke of luck for the young Schubert, akin to a laboratory where he could thoroughly test his compositions against the works of composing contemporaries such as Haydn, Mozart, Beethoven and Méhul, and in real world conditions.

With this recording Sofya Melikyan introduces us to composers who seem marked by some historical design in which the momentous events of their countries of origin, and the magic of figures, have somehow crisscrossed and interwoven. As such, these three women represent countries that underwent tremendous upheavals a century ago. Kaija Saariaho’s native Finland gained its independence in 1917, which was the same year and with almost the same historic circumstances that shattered the social foundations of Russia, Sofia Gubaidulina’s country of origin (although she was actually a Tatar), in that case resulting in the October Revolution of 1917.

Agustin Barrios Mangore was one of the greatest guitar virtuosi of his time and something of a pioneer in making recordings, which he began as early as 1910. His compositions offer a lexicon of technical and expressive devices for the guitar, from both the South American and European traditions. This penultimate volume in the series offers the scintillating Estudio No. 6, which demonstrates some of the composer’s finest artistic characteristics such as poignant treble melodies and a mastery of harmonic progression.

Sofia Hultquist is an Italian composer and musician. Hultquist is best known for her band Drum & Lace and for co-scoring the fashion documentary The First Monday in May. She is also known to write music for soundscapes for fashion shows and presentations and is involved heavily in the fashion world.

Anna and the Apocalypse is a 2018 British Christmas zombie comedy musical film written by Alan McDonald and Ryan McHenry, directed by John McPhail. The film stars Ella Hunt, Malcolm Cumming, Marli Siu, Sarah Swire, Christopher Leveaux, Ben Wiggins.

Anton Sanko is a music composer, orchestrator and producer born in New York City. He has been writing music for picture for over 25 years. He is currently working on an adaptation of Chekhov’s “The Seagull”, starring Annette Bening and Saoirse Ronan, directed by Michael Mayer. He has recently scored “Jackals”, a thriller starring Johnathon Schaech, Stephen Dorff and Deborah Kara Unger directed by Kevin Greutert; “Big Bear”, a comedy starring and directed by Joey Kern, also starring Pablo Schreiber and Adam Brody; “Raiders!: The Story of the Greatest Fan Fiction Ever Made”, directed by Jeremy Coon and Tim Skousen; and “The Drowning”, a thriller starring Julia Stiles and Josh Charles, directed by Bette Gordon.

La Historia De Maite Hontele comienza en un pequeño y frío pueblo holandés: Haaften. Donde a sus escasos 9 años, escuchaba sorprendida la colección de música latina de su padre. Tal fue el impacto que generaron los ritmos caribeños en la precoz niña que rogó ser incluída en la banda del pueblo, donde accidentalmente eligió la trompeta como su instrumento sin saber que se convertirían en inseparables.

''Missing Element - Live at Upstairs'' is the first effort by the Alex Francoeur as a leader. Alex has composed all of the music, with the exception of one jazz standard, ''I Hear a Rhapsody''. The goal of this record was to capture the energy and spirit of live jazz music; exciting, unpredictable and daring. His quintet, comprised of Chris Edmondson on alto saxophone, Gentiane MG on piano, Levi Dover on bass and Louis-Vincent Hamel on drums, do justice to this objective in brilliant fashion, with each of their individual voices shining through while conserving a concise group sound.

This new release provides the listener with a new and exciting instrumentation, that includes flute, piano, double bass and drums. This is quite different from the regular ensembles one hears in the jazz world. In this third project with a quartet formation from these musicians, the listener will have the opportunity to hear a new repertoire of original music stuffed with funk, Latin, and swing rhythms, showing an approach to the jazz flute that is uniquely Francois Richard’s.

The rediscovery of Hélène de Montgeroult’s music, notably her Complete course for the instruction of the pianoforte (more than 700 pages, including 114 Etudes, varied themes, fugues, and a fantasy), which can be found in several of the world’s great public libraries, brings to mind Georges Perec’s short story The Winter’s Journey, in which a young man unearths a long-forgotten book that seems to anticipate Symbolist poetry avant la lettre, a book of “plagiarism by anticipation” that will vanish for good later in the story.

This release reunites the Kodama sisters in the studio following their scintillating recording of Tchaikovsky ballet suites for PENTATONE. In a review of a public performance of the Martinů Concerto for Two Pianos and Orchestra, the Ziebline journal wrote “Mari and Momoyo Kodama are extraordinary … The fingers of the Japanese musicians were flying with with diabolic ease and finesse: a stunning finale.”