The violin and cello duo cannot be considered as a musical rarity; yet it is also far from one of the most popular instrumental combinations in Western classical music. It is a challenging ensemble for both those composing for it and those venturing in the performance of its repertoire. It is a duo which invites counterpoint: the deep nature of both instruments and their vocation is to melodic singing, to the sustained lines which translate the human being’s aspiration to vocality into instrumental music. In consequence, to undertake a composition for violin and cello duo is also to implicitly accept the challenge of polyphony, and to affirm one’s mastery of its most intricate secrets.

The influence of the music by Girolamo Frescobaldi (1583-1643) on contemporaneous composers and on those who worked even between the seventeenth and eighteenth century was truly important. For the necessarily synthetic itinerary delineated in this CD I was inspired by four exemplary compositions excerpted from “Fiori Musicali”. This collection was printed in 1635. In it, the composer proposes works conceived for liturgical use (plus two pieces without a precise collocation within the Mass). These pieces are excerpted from the so-called “Messa della Madonna”, and are a Toccata avanti la Messa, Canzon dopo l’Epistola, Recercar dopo il Credo, Toccata per la Levatione.

The Russian composer Nikolai Kapustin (1937-2020), who died at the beginning of the pandemic-related cultural hiatus which has been unique with regard to world history, was able to experience considerable appreciation in his last two decades, which recently gained more and more momentum.

The years between 1900 and 1914 are perhaps among the most exciting in European music history. It was during these years that what is now commonly referred to as musical modernism emerged. It is the time when the great European "schools" of the musical avant-garde take shape in Paris, Berlin, St. Petersburg and especially in Vienna, and when music fans out into a variety of aesthetics, styles and genres that are reflected in the set of terms we use today to try to get to grips with the art of this era: Impressionism, Expressionism, Art Nouveau, Neoclassicism, Folklorism, Late Romanticism / Post-Romanticism, Symbolism, etc.

Marigold Sky is the fifteenth studio album by American pop music duo Hall & Oates.

This is the original Frank Ballard Rhythm Blues Party LP released in 1962.

My oratorio The Lapse of Time is based on poetic excerpts from Charles Darwin groundbreaking book On the Origin of Species will finally be released on Simax October 21th, recorded by Ditte Marie Bræin (soprano), Frank Havrøy (baryton), Inger-Lise Ulsrud (organ), Ensemble 96 (chamber choir), Telemark Chamber Orchestra and the conductors Nina T. Karlsen and Per Kristian Skalstad.

Taylor Swift Just Revealed That Her “Special Very Chaotic Surprise” Is A “3AM Edition” Of Her New Album “Midnights” With Extra 7 Tracks And People Are Losing It. Taylor Swift’s new studio album Midnights. It’s a collection of music written in the middle of the night, a journey through terrors and sweet dreams. The floors we pace and the demons we face - the stories of 13 sleepless nights scattered throughout Taylor’s life.

The Leipzig bassist Andreas Pientka sets massive, monumental music in scene with his tentet on "Tiefe Nacht” (trans.: Deep Night). Seven brass players – two trumpets, a trombone, a tuba and three saxophones – as well as a rhythm group composed of Pientka himself as well as the pianist Niklas Roever and the drummer Alex Parzhuber bring the music to life, and the flutist Camila Moukarzel-Ortega also intervenes occasionally in the action.

"Between Hotels and Time" marks the friendship between three extraordinary artists. Jazz pianist Ketil Bjørnstad, vocalist Anneli Drecker (Bel Canto) and writer Lars Saabye Christensen have used their friendship as the basis for the creation of the new jazz record "Between Hotels and Time". The result is a timeless and magnificent album with 18 original songs. The project consists of the hurtful and raw poetry of Lars Saabye Christensen, sung and conveyed by the beautiful voice of Anneli Drecker and accompanied by the expressive piano tones of Ketil Bjørnstad.

What could be more fascinating than the play of light and shadow? To descend into sensual melancholy, to dare to be fragile and to reveal oneself in its depths and inner nuances. I find that one way of illustrating this complexity of the senses is to compare two musical and pictorial schools: French Impressionism and German Expressionism.

Duffy Power (1941-2014) was among Britain’s first wave of late 50s rock’n’rollers, a protégé of impresario Larry Parnes alongside Billy Fury, Marty Wilde and Georgie Fame. In 1963, a musical epiphany saw him become one of Britain’s greatest bluesmen – an intensely soulful singer, songwriter and harmonica virtuoso whose career thereafter would be a rollercoaster of amazing recordings, off/on record deals, and periods of withdrawal before bowing out of music-making in 1973. In the mid-60s, Duffy recorded with future members of Cream, Pentangle and the Mahavishnu Orchestra. He never had any problem impressing fellow musicians, but a wider appreciation of his work would only come in the CD era.

Ensemble Allegria presents here a combination of works as an invitation to enjoyment as well as reflection. We are offered variations, metamorphoses and fragments, three different artistic working concepts.

A very special "summit meeting": U.S. saxophonist Harry Allen meets Cologne pianist Martin Sasse at Basel's "Bird's Eye."

In her interpretation of Telemann’s Fantasias, Małgorzata Malke takes her listeners on a journey to 18th-century Poland, a land which Telemann often visited, drawing inspiration from Polish folk music. "In my interpretation of the 12 Fantasias, I decided to follow the path of Polish influences in Telemann’s compositions, looking for traces of the composer’s love for Polish music", says Małgorzata Malke.