This recording brings together two of the greatest works of the Classical era in transcriptions for solo piano by two of the greatest pianist-composers of the Romantic era, resulting in two of the most thrilling experiences that nineteenth-century pianism has to offer.

Dead & Company is an American rock band consisting of former Grateful Dead members Bob Weir (guitar and vocals), Mickey Hart (drums), and Bill Kreutzmann (drums), along with John Mayer (guitar and vocals), Oteil Burbridge (bass, percussion, and vocals),and Jeff Chimenti (keyboards).

Dead & Company is an American rock band consisting of former Grateful Dead members Bob Weir (guitar and vocals), Mickey Hart (drums), and Bill Kreutzmann (drums), along with John Mayer (guitar and vocals), Oteil Burbridge (bass, percussion, and vocals), and Jeff Chimenti (keyboards).

Juan García Esquivel (January 20, 1918 – January 3, 2002), often known mononymously as Esquivel!, was a Mexican band leader, pianist, and composer for television and films.

(b. Prato, 9th december 1963), studied under the guidance of Sandro Materassi and graduated with full honour at Conservatorio Luigi Cherubini di Firenze. Later he studied with Stefan Gheorghiu and Ilja Grubert, taking the soloist degree at Rotterdams Conservatorium.

A young generation of the German jazz scene moves forward, takes a step back, dreams away and unleashes in a relaxed way.

Franz Liszt was not an organist. On the organ he never acquired anything like the level of virtuosity that distinguished his pianism; his pedal playing in particular remained limited. Nevertheless, Liszt regularly appeared at the organ, even during his years as a travelling piano virtuoso.

The year 1919: A point in time, European countries, a young woman, a young man and an elderly gentleman. This is the musical triptych that Marion Leleu and pianist Bertrand Giraud, who plays the wonderful grand piano Opus 102 by Stephen Paulello, have chosen for our CD. These three composers could scarcely be more different, whether in their social situation, their geographical background, or their psychological make-up.

This solo debut album is a selection of improvisations on standards and original compositions. The repertoire ranges from Body and Soul to Over the Rainbow, Thelonious Monk, Bill Evans and originals.

The series of Mozart symphonies, recorded by Johannes Klumpp with "his" Folkwang Chamber Orchestra Essen at GENUIN, enters the second round. The tradition-steeped orchestra now juxtaposes the first and last symphonies of the Viennese composer of choice: Early and late works in direct comparison, the alpha and omega of Mozart's symphonic cycle, so to speak. The ensemble thus draws connections between works that lie 25 years apart. Its joy of playing and virtuosity brilliantly illuminate Mozart's innovative power and artistic mastery!

During the 17th and 18th centuries, Naples’ fame as a musical centre attracted travellers, composers, instrumentalists and virtuoso singers alike. Among the aspiring musicians, the most highly-trained and sought-after were the castrati, promising boys aged between 8 and 12 who were subjected to an operation intended to preserve the exceptionally pure timbre of their treble voice. Forever virginal beings whose superhuman voices mesmerized their listeners they were nicknamed angiolilli, ‘little angels’, and sang in the most important churches and theatres of ‘Castrapolis’, a term coined to describe the southern capital and its high concentration of castrato sopranos.

Straddling the fine line between so-called classical music and jazz is an award-winning duo on their new GENUIN CD. Violinist Matthias Well and pianist Lilian Akopova present syncopated, blue note-soaked sounds by Astor Piazzolla, Maurice Ravel, and George Gershwin, as well as two spectacular pieces of recent date: Alexander Rosenblatt's virtuosic Carmen Fantasy and Vladislav Cojocaru's at first melancholy, later groovy Kaleidoscope. Dedicated to Akopova and Well, it is recorded here for the first time. A CD full of creativity and color, perfect for fighting the autumn blues!

This album is part of recordings I made on the occasion of concerts of the fonè Music Festival Piaggio edition 2021. I realized this recording at the Auditorium Piaggio located inside the famous Museum in Pontedera, the place where Piaggio was born and where it still continues to produce today.

Maurice Ravel took a compositional interest not only in the Spanish bolero, but also in the Viennese waltz. In March 1920, he completed the score of the work consistently entitled La Valse, about which he later remarked in an interview: "It is a dancing, spinning, almost hallucinating ecstasy, an increasingly passionate and exhausting whirl of dancers who get carried away in exuberance." But there are also some grotesque distortions. They remind us that this composition, in addition to the sonorous glorification of the Belle Époque, also represents the dance on a volcano that was already deflagrating at the time.

Kubelík’s star began to wane in the years before World War I. Some felt he had gone off the boil but it was more a question of his public turning to new idols, Elman and Vecsey. In 1915 he retired to take composition seriously, not resuming his concert career until 1920. He toured Britain 20 times from 1900 to 1934 (packing the Royal Albert Hall with 7,000 people in 1926) and the U.S. many times up to 1938 (6,000 heard him at the New York Hippodrome in 1920-21).