The album "We'll Rise" by Anke Helfrich is a captivating jazz release that showcases the exceptional talent of this German pianist and composer. Released by Enja & Yellowbird Records, this CD offers a unique listening experience for jazz enthusiasts.

I am thrilled to have been able to commission five new works for solo violin for this album from five wonderful Canadian composers: Carmen Braden, Amy Brandon, Derek Charke, Corie Rose Soumah, and Hsiu-Ping Patrick Wu. The existing works of these composers represent a broad spectrum of stylistic approaches, technical perspectives, and thematic choices, and I feel that this collection of new works is an exciting, important, and varied contribution to the Canadian repertoire for solo violin. I have dreamt of finding a way to commission new works to add to that repertoire since I released my first album of music for solo violin, Into the Stone, in 2019, and this project is the fulfillment of that dream.

The Weiss Kaplan Stumpf Trio's highly anticipated BEETHOVEN: COMPLETE PIANO TRIOS (BRIDGE 9505A/C three CDs) is now available. The stellar New York City based trio (Yael Weiss, piano; Mark Kaplan, violin; Peter Stumpf, cello) offer deep, beautifully rendered interpretations of eight immortal masterworks.

Featuring cellist Thomas Mesa and pianist Michelle Cann, OUR STORIES from Navona Records aims to raise the voices of composers and performers from backgrounds traditionally underrepresented in classical music. Made possible by PARMA Recordings and a Sphinx MPower Grant, this release musically conveys a diverse mixture of themes and topics, from the intricacies and curiosities of human communication to fear-inducing information prevalent in the media, reflections on the acceptance of life’s inevitable changes and losses, and more. Dive in and explore the masterful contemporary works of Andrea Casarrubios, Carlos Carrillo, Kevin Day, Sebastian Quesada, and Mario Oyanadel.

The three-way Los Angeles collaboration was born out of a curiosity which just wouldn’t die. Made up of two of the most illustrious and inventive drummers of the post-punk era, The Cure’s Lol Tolhurst, and Budgie from Siouxsie and The Banshees and The Creatures, along with stellar producer and multi-instrumentalist Garret ‘Jacknife’ Lee, this unlikely alt-supergroup have spent the last four years spiriting up one of the most extraordinary albums to appear in 2023.

Maxim Emelyanychev and Il Pomo d’Oro continue their uncommon Mozart symphony cycle. The idea is the following: put together great symphonies of the late Mozart and youth pieces. Maxim Emelyanychev, who has already gathered the first and the last symphonies – the beginning and the end –, has chosen to record the symphony no. 29 and the legendary no. 40 in the present volume.

Brahms’ Sonata in F Minor, Op. 120 was one of the first works Daniel and I played together 22 years ago.

The Italian 19th Century is characterized by an unparalleled opera bulimia, the theaters tirelessly program stagings to be submitted to the perennial abstinents of “belcanto” and the music publishing industry that revolves around the phenomenon flourishes and gears up to not disappoint the fleets of music lovers.

From the youthful Concerto no.6 (1776) to the almost testamentary Concerto no.25 (1786), Mozart’s style underwent considerable evolution. In ten years, the young prodigy gave way to a master fully aware that he was opening up new horizons for the genre. With this fourth album in their series, Kristian Bezuidenhout and the Freiburger Barockorchester continue their exploration of a corpus visited so many times before; but with them, we have the impression we are rediscovering each note as if it were the first time.

Mahler’s Eighth is a special challenge for all participants: in rehearsals, in performance, and, of course, when making a recording.

For this release, pianist Dina Ugorskaja has recorded Book I and II of Bach’s Well-Tempered Clavier in Cooperation with Bayerische Rundfunk in Munich.

The pianists Herbert Schuch and Gülru Ensari have been playing as duo only since 2014/2015 but no matter if four-handed or on two pianos, the German-Turkish duo has already convinced on numerous international concert stages, such as the BOZAR in Brussels or at the Antalya Piano Festival.

Das einzige bedeutende Werk, das je für das Instrument komponiert wurde, ist mit aller Wahrscheinlichkeit Schuberts Arpeggione-Sonate D 821.

Nicht viele Werke des 20. Jahrhunderts stehen heute so selbstverständlich auf den Konzertprogrammen wie die Musik des 1986 gestorbenen Maurice Duruflé.

"Johann Sebastian Bach used the recorder in two Brandenburg concertos and some twenty cantatas and oratorios, but alas, he left us no sonata with harpsichord," say Julien Martin and Olivier Fortin. Arranging chamber music for a variety of instrumental ensembles was a widespread practice in the eighteenth century. Bach himself seems to have created a number of works that did not necessarily require the use of a specific instrument.