The first female Professor at the Paris Conservatoire, the first female player in the Queens Hall Orchestra and the first female American Symphonist to be published. The Neave Trio celebrate these three outstanding pioneers on this captivating album. Since forming in 2010, Neave Trio violinist Anna Williams, cellist Mikhail Veselov, and pianist Eri Nakamura has earned enormous praise for its engaging, cutting-edge performances. WQXR explains, ""'Neave' is actually a Gaelic name meaning 'bright' and 'radiant', both of which certainly apply to this trio's music making."" The Boston

Rarely have I read a sleeve-note that pleads so vehemently in support of the music it introduces as does the one for this collection of works by Henry Lawes. ''I wish this record well,'' writes Anthony rooley, ''for Harry's [Henry's] sake, so that our un-sung genius of song may occupy his rightful place in the halls of Fame, and the late 20th century adopt the same conclusions as his own time''. Certainly you may find it surprising that a composer whose music was praised by such towering contemporaries as Charles I, Milton and Locke should have been neglected so universally by today's champions of early music—surprising, that is, until you hear the music itself.

Almost forty years separate Verklärte Nacht (Transfigured Night) from the Violin Concerto - the former still influenced by the idiom of Brahms and Wagner, the latter deriving from the richness of that later period when Schoenberg managed to combine a multiplicity of approaches within his twelve-note system. Between post-Romantic twilight and 'classical' rigor, Isabelle Faust and company offer us an extraordinarily lively interpretation of some of the most remarkable pages in twentieth-century musical literature.

During the eighteenth century the knowledge that the bassoon could very well rise up to the virtuosic spheres was reserved for only rather small circles of hearers. In April 1736 a new bassoon star in the person of Johann Christian Klotsch came from Zerbst to Darmstadt. Christoph Graupner must have been extremely delighted to work with this talented musician; Klotsch had only recently been under contract in Darmstadt when he was given multiple opportunities to demonstrate his bassoonist’s skill in the Sunday cantatas. Since Graupner loved to experiment with innovative tone colors, he increasingly placed the bassoon in the spotlight in his cantatas. This development reached its height in 1741 with bassoon parts of concerto character in sixteen different cantatas.