Pieter Hellendaal was one of the star violinists who - like Geminiani and Veracini - appeared as a soloist during the intermissions of Handel’s operas in London. Exploring Hellendaal’s sonata manuscript in Cambridge’s Fitzwilliam Museum, Johannes Pramsohler brings to light a composer firmly rooted in the Corellian tradition, yet reminiscent of his teacher Tartini in his melodic invention and of Locatelli in his stunningly virtuosic cadenzas.

"No one on earth loves nature more than I. I like a tree more than a fellow man." (Ludwig van Beethoven).

Chantal Santon Jeffery and the Orfeo Orchestra, conducted by György Vashegyi, take us through a musical journey that leads straight to the French Enlightenments, the glorious time of the sopranos légères, whose agile voices allowed all fantasies and ornaments.

Beethoven’s Violin Concerto is so familiar to us today that it is hard to imagine how confusing it was to the first listeners because of its novelty. In contrast to Faraway Light, the first of the Lithuanian’s two violin concertos Pēteris Vasks: the work — which pits human madness against the eternal glitter of distant stars — seduces at first glance, effortlessly charms the ear and has established itself as a classic of our time.

The brothers Daniel and Pablo Zapico show their mastery of the plucked string in the context of ancient music.
Daniel and Pablo Zapico are members of Forma Antiqva as well as being resident artists of this edition of the Granada Festival. They rank in a privileged position with regard to historic interpretation and here they offer us Mediterránea, in which they explore the range of differences between Spanish and Italian music of the Renaissance and the Baroque periods.

For Ferruccio Busoni, Bach’s music was the root and the foundation of piano playing. His many transcriptions confirm this point of view, whilst his monumental Fantasia Contrappuntistica attempts to provide a conclusion to Bach’s unfinished Kunst der Fuge. Busoni received a great deal of criticism for this, to which he replied “the musical art-work exists both within and outside of Time… there is no Old or New. There is only Known or Unknown”. Today — one century and many fashions of “authentic” ways of performing Bach later — is possibly the time to rediscover the true voice of this great musician; for Bach, music was like “a divine child who did not touch the earth with his feet but floated on air”. Jan Michiels takes you into this divine air with an ‘old’ Bechstein from 1860 as well as with a brand new Straight Strung Grand Piano by Chris Maene.

This "Musical Moment in the Schumann family" brings together the famous popular pieces for cello and cello. Robert Schumann's piano highlighted with two sumptuous sonatas unfairly misunderstood composed by the siblings Camillo and Georg Schumann. Exempt from a common genealogy, these three However, composers share many links that we invite you to discover through of this record. It is after many concerts and months of research that Cyrielle Golin and Antoine Mourlas have pooled their passion and sensitivity to offer you this original triptych.

On this record, the Quatuor Puccini presents a delightful program of French master composers Claude Debussy and André Caplet.

Musicians Clemens Christian Poetzsch and Sven Helbig had known each other for years. They met in 2008 at Dresden’s conservatory, where Helbig taught drums, and Poetzsch studied the piano. Soon enough, they would be playing in the same Jazz trio every Sunday at the city’s famous Blue Note club.

The Frenchman Olivier Thiery received his first double bass lessons at home at the age of fifteen by his own father Georges Thiery. In 2008, after Graduating from the ‘Folkwang University of Arts’ in Essen, Germany, Olivier moved to Amsterdam where he was appointed as a permanent member with the Royal Concertgebouw Orchestra.

“Until it all completely dissolves”: in conversation with the Oberon Trio An interview by Friederike Westerhaus “Duality” is the title of your new album. In your trio lineup, are you confronted with duality on a basic level?

In his latest recording for Chandos with the Estonian National Symphony Orchestra, Neeme Järvi explores pieces by three of Estonia’s first composers. The bulk of the works in the programme were composed in the first decade of the twentieth century, and are all excellent representations of the birth of Estonian Music, as Estonia transitioned from a territory in the Russian Empire to an independent nation state. As was the norm at the end of the nineteenth century, these composers studied at the St Petersburg Conservatory, and Estonian symphonic music certainly has its roots in the Russian nationalist style. Like so much of European music of this era, ethnic identity is emphasised by the inclusion of native folk tunes, and the ‘Nordic’ style of Grieg and others is clearly an influence.

This programme of previously unrecorded works illustrates a highly distinctive aspect of Nikos Skalkottas as a composer: The ‘neoclassical’ Skalkottas goes hand in hand with the ‘national’ and the ‘modernist’ composer, the common denominators being perfect architecture of form, harmonic refinement and skilful orchestration. The opening Sinfonietta in B flat major is a typical example of the composer’s ‘neoclassical’ side. In four movements and with a duration of 25 minutes, it was written in 1948, during Skalkottas’s final years. It is followed by the Suite for Violin and Chamber Orchestra and the Concerto for Violin, Piano and Orchestra, examples of the composer’s atonal idiom. Both works were among the many that disappeared after the composer left Berlin in 1933.

In 1980 Vivencia released a new conceptual work that included musicians such as Oscar Cardozo Ocampo, Machi Rufino and Diego Rapoport (Spinetta Jade), among others.

In 1979 “Vivencia” gave birth, always for the CBS label (Today Sony) the long duration “Azules De Otoño”, where they stand out songs like “Con Un Niño En Nuestros Cuerpos”, “Gira La Vida” or “Sonrisas Que Alimentar” .