In 2017, the Saxon Wind Philharmonic was accepted into Germany's "Excellent Orchestra Landscape" federal subsidy program by a commission for an orchestral piece to the renowned composer Jörg Mainka. With Cloud-Castle, Mainka created a reference work for contemporary symphonic wind music, which the elite ensemble from Bad Lausick has recorded for the first time on this GENUIN album.

Derek Scott, born in Birmingham in 1950, has an international reputation as a leading historian of the British music hall and other forms of light entertainment.

SOMM Recordings is delighted to release Hail Caledonia – Scotland in Music, a musical salute to their homeland by conductor Iain Sutherland and the City of Glasgow Philharmonic Orchestra. Recorded live in Glasgow’s Royal Concert Hall in 1995-96 and newly remastered, these vivacious performances also feature the City of Glasgow Pipe Band, City of Glasgow Chorus, and bagpipers David Wotherspoon and Iain McDonald.

Girl Of My Dreams is an album of New Orleans Style Jazz featuring the Fone Jazz Makers…

This venturesome, sometimes sharp-edged, but in any case, expressive new recording of the “Quattro stagioni” by La Folia Barockorchester offers perhaps a chance to see Vivaldi's masterpiece in a new, somewhat contemporary light…

On his second solo album for Arcana, after L’ Ultimo romano , Simone Vallerotonda explores the metaphysical and sensual world of seventeenth-century French lute music. The result is Méditation : four suites in four different keys, each associated with a season and with one of the four ‘humours’ (melancholic/autumn, sanguine/spring, phlegmatic/winter, choleric/summer) that were said to characterise human beings in their temperament and physical traits.

Through our pandemic era Martin Sturtzer has transformed his home studio into a sanctuary. His Dyson Sphere Alpha (156:10) collects six tracks worth of live streamed sets from an ambitious schedule of Sunday evening performances…

This album is the first phonographic instalment of a series of albums under the joint title Flutissima, initiated by Sylwia Kubiak-Dobrowolska.

Manuel Cardoso (1566–1650) was one of the most important composers of the golden age of Portuguese polyphony around the turn of the seventeenth century. But history has not been kind to him: the 1755 Lisbon earthquake that ruined the Convento do Carmo, where he spent most of his working life, also resulted in the loss of the only attested image of the composer and a good deal of his music – and much of that which survived has been neglected, his Masses included.

This recording features the works of Russian composers who were outstanding personalities in the musical life of their country during their lifetime: The Violin Concerto in D major, op. 35, by Tchaikovsky and the Violin Concerto in A minor, op. 82, by Glazunov.

On her second album, a country singer-songwriter accustomed to crafting songs for artists like Miranda Lambert and Lee Ann Womack finds her own voice…

The violinist, cellist, flutist and oboist Robert Valentine (Leicester, 1671 - Rome, 1747) was a prolific author of sonatas - especially for recorder - and an instrumentalist engaged in the musical life of Rome, the city where he moved, in a period between 1693 and 1700, from his native England.

Undoubtedly our interest and passion for the works composed throughout the 20th century have informed the choice of repertoire proposed in this record – the result of a long period of study and artistic collaboration. This repertoire has been part of our concert programmes for many years and represents four major milestones of the chamber music repertoire for the flute and guitar. Each work proposes a different compositional style – peculiar musical grammars and language with a varied and contrasting artistic vision delivered by each composer.

As an introduction to these recordings Namoradze writes: "This album presents some of my reflections on the work of Robert Schumann, from both pianistic and compositional viewpoints. The program is centered on two arabesques, and the structure of the recital is itself reminiscent of an arabesque-like texture, interleaving Schumann’s work with my own. The opening sunrise of Schumann’s Songs of Dawn is followed by a pair of arabesques, Schumann’s work exerting an influence on aspects of the formal structure of my piece of the same name. Two considerably more virtuosic and extroverted selections complete the program: Schumann’s monumental Humoreske, followed by three of my piano etudes."