Fritz Stüssi (1874 - 1923) attended the Gymnasium in Zurich as well as the Zurich Music School, from which he graduated as a pianist and composer.

Dylan Farrell is a born musician whose experience has led him to gain an artistic depth that most artists only aspire to.

"For this recording, I have chosen Couperin at his most dramatic, powerful and often tragically brilliant. The Troisiême Ordre is a finely chosen selection of pieces in C minor and major. While Couperin may have had no specific overall architecture in mind for this selection, he is successful in offering us great variety, ranging from the classical theatricality of La Ténébreuse and the tender sighing of Les Regrets to the riotous clowning of Les Matelotes Provençales. Let us remember that when he gathered the music for his first book of harpsichord works, he was amassing selections from over 20 years of composing. This is truly a retrospective collection of harpsichord pieces."

The Midnight have announced their first live album Red, White and Bruised: The Midnight Live out 1th September on Counter Records. The album will be available digitally as well as limited edition LP and Cassette.

The most well-informed aficionados of NYC's jazz avant-garde speak of pianist John Blum with reverential respect, yet his discography is shockingly small for someone with a three-decade career: five albums as a leader, four as a sideman. Blum studied piano with seminal avant-gardist Cecil Taylor and ambidextrous master Borah Bergman, and it shows, yet his style at its most intense is more thickly textured than even theirs, and fully individualistic.

In the circles of early music lovers, documented information about performance practice is so important as to be obsessively searched for by musicians and musicologists. While iconography sometimes cannot be relied on as evidence because of its symbolic meaning, a piece of information on the aesthetics of a performance, the making of an instrument, the composition of a group of instruments, or the repertoire performed is all the more valuable if it comes from a document, be it official or private, such as a letter.

Ein wenig dauert es noch. Die Vorfreude ist groß. Am 1. September veröffentlichen The Paper Kites ihr neues Album "At The Roadhouse". Das wird natürlich wieder kein ganz normales Album, das ist nicht einfach so entstanden.

World premiere recording of the Piano Concerto and Symphony No. 1 by the Finnish composer Helvi Leiviskä. Oliver Triendl has brought the works out of oblivion and made them known to a broad public.

This is the first album of a new series of recordings with the soloists of the Orchestre symphonique de Montréal, under the artistic direction of Andrew Wan, concertmaster of the OSM since 2008.

Two major musical works are at the heart of this new album: Ludwig Van Beethoven‘s Septet in E-Flat Major, Op. 20 and Till Eulenspiegel einmal anders!, Op.28 by Richard Strauss. Together, these masterpieces constitute a program dominated by a certain lightness – tinged with a hint of humor.

After seven albums spearheading Hedvig Mollestad Trio (still very much active!) and three solo albums, the guitarist is here introducing a brand new, exciting trio while breaking some new ground in the process. Ståle Storløkken (keys) is known from Supersilent and Elephant9, while Ole Mofjell (drums) is part of a young generation making waves on the European improscenes. Weejuns is a solid step into shimmering, hardcore improvisation and breathtaking instrumental interplay, echoing The Tony Williams Lifetime, Henry Cow, Soft Machine, Mahavishnu Orchestra, Supersilent and 73-74 period King Crimson.

The starting point for this album was a concert of Weinberg's Sonata, in which Shirley Brill was deeply moved by the overwhelming emotional power. Being Jewish herself, she was deeply moved by the rich folkloric klezmer elements that are so intensely expressed in this sonata. This experience sparked her passion for exploring the integration of national feelings into classical music, with a particular focus on Germany and Poland.

Film, television, and video game music composer Daniel Pemberton got his start in avant-garde and ambient electronic music, influenced as a teenager by statuesque electronic artists such as Jean Michel Jarre, Tomita, and Vangelis. Pemberton began collecting keyboard gear at an early age and wrote a tips column for a video game magazine to earn enough money for increasingly high-end equipment. He also began recording his own compositions, and passed a tape on to Mixmaster Morris at one of his gigs. When word (as well as additional tapes) continued to spread, Pemberton recorded his debut album, Bedroom, which gained release in late 1994 for Pete Namlook's highly collectible Fax Records. The Mixmaster Morris connection also led to work for Coldcut's Ninja Tune label, including a DJ Vadim remix released on the latter's U.S.S.R. Reconstruction LP. Soon after the release of Bedroom, Pemberton moved into composing for television with his first soundtrack, written for a Channel 4 documentary, but his career scoring for television, film, and video games truly took off after the turn of the millennium.

Vocalist and composer Céline Rudolph glides between Berlin, São Paulo, Paris and New York, between tongues and genres, always landing in the very heart of music.

The Gramophone Award-winning vocal ensemble Cupertinos, under the direction of Luís Toscano, once again proves its mastery with the discovery of another great figure from Portugal's golden age of polyphony.

After having his mainstream breakthrough with the Wes Craven slasher film Scream in 1996, American composer Marco Beltrami became closely associated with his stirring, percussive orchestral scores for horror, action, and science fiction movies, including further collaborations with Craven. His first of multiple Academy Award nominations came with the 2007 remake of the western 3:10 to Yuma.