The first of two discs by Pieter Wispelwey that will be released in 2023 is a re-assembling of previously released recordings of works by Schubert. This short series entitled In Memoriam is inspired by a grave loss Pieter suffered recently.The disc includes Schubert's masterpieces for violin and piano, transcribed for cello and the most famous Trockne Blumen, originally for flute. To accompany Pieter on piano is his faithful musical companion Paolo Giacometti. "Half a year before my sixtieth birthday my family and I suffered a massive, tragic blow, when my son, Dorian, died. While still shaken to my foundations, a way forward seems to me to be to allow music to play a constructive and healing role. So I have recorded Bach's Fifth Suite and Kodaly's Solosonata to form the Scordatura Album for an October In Memoriam II release.

Pianiste et chef d'orchestre allemand, Lars Vogt a mené une carrière de concertiste jalonnée de collaborations, avant de diriger le Royal Northern Sinfonia et l'Orchestre de chambre de Paris. Né à Düren le 8 septembre 1970, il prend ses premières leçons de piano à l'âge de six ans et étudie à l'École supérieure de musique d'Hanovre avec Ruth Weiss et Karl-Heinz Kämmerling. Après avoir remporté le 2e prix de piano du Concours international de Leeds en 1990, il donne de nombreux récitals et enregistre avec le City of Birmingham Symphony Orchestra, dirigé par Simon Rattle, les concertos pour piano de Schumann et de Grieg (1992), puis les deux premiers de Beethoven (1995).

François Salque (cello), Samuel Strouk (guitar) and Jérémie Arranger (double bass) who form the Loco Cello trio announce their second album Tangorom for February 03, 2023 with a great tour that will stop in Paris at the Café de la Dance on 02/13/2023.Tangorom sails from Astor Piazzolla to Django, passing through chamber music and music from Eastern Europe. A crazy odyssey. We find on this second album of Loco Cello two distinguished guests: the guitarists Biréli Lagrène and Adrien Moignard.

Make My Day is an animated movie directed by Makoto Honda. The screenplay is written by Yasuo Ohtagaki.
Yasuo Ohtagaki, the acclaimed manga author known for his sci-fi spectacles “Moonlight Mile” and “Mobile Suit Gundam Thunderbolt,” has created an original story for a must-see sci-fi epic that brings together talent both from Japan and abroad.

Do we need to know, before hearing a work, whether it was composed by a man or a woman? Does this information change the way we listen? Does it influence our judgment?With the works selected for this recording, we enter the realm of so-called ‘programme music’.Composers proclaim therein their ability to depict, through purely aural means, a non-musical subject.
A poem, a narrative, a painting, a scene from a play or even a sculpture could be used as the basis for the score of a symphonic poem.

Raphael Wallfisch is one of the leading English cellists of his generation. His repertory is vast, taking in 19th century staples by Tchaikovsky, Brahms, and Dvorák, as well as 20th century standards by Prokofiev, Shostakovich, Respighi, and Barber. Yet he has also focused much attention on works by British composers, too, from Elgar, Delius, and Bax to Maxwell Davies, MacMillan, Simpson, and Tavener. Wallfisch has recorded extensively for many labels, including Chandos, Nimbus, and Naxos. Wallfisch was born in London on June 15, 1953.

5 years ago the Munich Radio Orchestra under Andrew Parrott performed Mozart's Singspiel 'Die verstellte Gärtnerin' - the rarely performed German version of 'La finta gardiniera', which can now finally be released on cpo. A top cast is assembled here: Sandrine Piau, Lydia Teuscher and Julian Prégardien, among others. When this opera was premiered, Mozart was 19 years old - an age at which most composers had not even begun. Wolfgang Amadeus' career as a musician - and as a composer - had been in full swing for several years, however. The work belongs to the genre of opera buffa, within which it follows the type of opera semiseria (half opera) popular at the time. Accordingly, in addition to buffa parts, there are also semi-seria parts and even a pure seria part. The music is of great richness. Mozart shows himself here as a true master of opera buffa. At the same time, the music already points beyond these to masterpieces such as Le nozze di Figaro and Don Giovanni. The first two acts of the opera contain large-scale, effective finales.

Norway's inventive Rock mavericks LEPROUS return with their seventh studio album, "Aphelion". Although unmistakably the work of the same band that made "Pitfalls" in 2019, "Aphelion" immediately stands out as a radical statement: Veering from some of the most intense material of their career to some of the most delicate music in the LEPROUS career, "Aphelion" is an album of beautifully crafted and meticulously arranged mini-masterworks. Recorded at three different studios (Ghost Ward / Sweden, Ocean Sound Recordings / Norway and and Cederberg Studios / Norway), mixed by Adam Noble (Placebo, Biffy Clyro, Nothing But Thieves) and mastered by Robin Schmidt (The 1975, Placebo, The Gaslight Anthem, etc.), "Aphelion" is available from InsideOutMusic as limited Mediabook CD with two bonus tracks, as Standard Jewelcase CD and as Gatefold 2LP on 180gr. vinyl with two bonus tracks and the entire album on CD as bonus.

Obwohl beide Meister denselben Text verwenden, unterscheiden sich die Vertonungen sowohl in ihrer Art als auch in ihrer Form erheblich. Während Haydns Melodien den Inhalt mit einem Augenzwinkern und viel Feinsinnigkeit präsentieren, lädt Holzers Stück vor Lebensfreude und Musikalität sprühend zum Mittanzen ein. Joseph Haydns Lieder umfassen ein breites musikalisches Spektrum und sind für die Entwicklung der Gattung von unschätzbarem Wert: Sie stellen einen entscheidenden Beitrag zur Weiterentwicklung des Wiener Liedes bis hin zu Franz Schubert dar. Wie bei vielen Wiener Charakteristika vermischen sich verschiedenste Stilmittel: volkstümliche Elemente, Merkmale des Singspielliedes und des norddeutschen Liedes werden unter dem zusätzlichen Einfluss der italienischen Arie zu einer völlig neuen Musikgattung geformt. Die Verbindung zum neunzehnten Jahrhundert wird durch französische Lieder hergestellt, die erstmals 1810 von dem italienischen Gitarrenvirtuosen Mauro Giuliani in Wien ausgegeben wurden. Für dieses Projekt wurde ein historisches Streichinstrument gewählt, um ein noch größeres Gefühl der Intimität zu erzeugen.

Obwohl beide Meister denselben Text verwenden, unterscheiden sich die Vertonungen sowohl in ihrer Art als auch in ihrer Form erheblich. Während Haydns Melodien den Inhalt mit einem Augenzwinkern und viel Feinsinnigkeit präsentieren, lädt Holzers Stück vor Lebensfreude und Musikalität sprühend zum Mittanzen ein. Joseph Haydns Lieder umfassen ein breites musikalisches Spektrum und sind für die Entwicklung der Gattung von unschätzbarem Wert: Sie stellen einen entscheidenden Beitrag zur Weiterentwicklung des Wiener Liedes bis hin zu Franz Schubert dar. Wie bei vielen Wiener Charakteristika vermischen sich verschiedenste Stilmittel: volkstümliche Elemente, Merkmale des Singspielliedes und des norddeutschen Liedes werden unter dem zusätzlichen Einfluss der italienischen Arie zu einer völlig neuen Musikgattung geformt. Die Verbindung zum neunzehnten Jahrhundert wird durch französische Lieder hergestellt, die erstmals 1810 von dem italienischen Gitarrenvirtuosen Mauro Giuliani in Wien ausgegeben wurden. Für dieses Projekt wurde ein historisches Streichinstrument gewählt, um ein noch größeres Gefühl der Intimität zu erzeugen.

Asterix & Obelix: The Middle Kingdom (French: Astérix et Obélix: l'Empire du Milieu) is a coming French live action adventure family comedy film directed by Guillaume Canet, who also stars as Asterix. A sequel to Asterix and Obelix: God Save Britannia (2012), it is the fifth installment in the Asterix film series -M- is the alias of French pop enigma Mathieu Chédid, an uncommonly idiosyncratic and far-ranging talent best known to a worldwide audience for his contributions to the animated cult favorite Les Triplettes de Belleville.

Schoenberg’s famous Verklärte Nacht (Transfigured Night), inspired by Richard Dehmel’s poem in which a woman announces to her companion that she is pregnant by another man, is presented here in its version for piano trio by Eduard Steuermann: ‘This brilliant pianist, the creator of many of Schoenberg’s pieces, brings the story to life by entrusting the dialogue between the man and the woman to cello and violin alone’, says Thomas Dieltjens, pianist of the group Het Collectief. Anton Webern made a transcription of Schoenberg’s Kammersymphonie op.9 in 1923 for the same forces as Pierrot Lunaire. This miniature orchestra, consisting of just two wind instruments (flute, clarinet), two string instruments (violin, cello) and a piano, ‘preserves great clarity in the polyphonic line’. Het Collectif asked the young composer Tim Mulleman to transcribe for the same ensemble the Piano Sonata op.1 of Alban Berg, who himself made arrangements of some of his own works, including the famous Adagio from his Kammerkonzert, also presented in this programme.

This is the third and final instalment of the Well-Tempered Consort series (5 Diapasons, Gramophone Editor’s Choice, BBC Music Magazine Chamber Choice). In this programme devised by its director Laurence Dreyfus, the viol consort Phantasm continues to shine new light on the fugues from Bach’s Well-Tempered Clavier interspersed with some of the composer’s most harmonically adventurous experiments from the Clavierübung III. This polyphonic feast also includes two works from the Inventions and Sinfonias as well as the Fantasia in G major BWV 572, or Pièce d’orgue as it is sometimes called, which boasts an extraordinary closing pedal point. A fitting end to a remarkable journey!

This is the third and final instalment of the Well-Tempered Consort series (5 Diapasons, Gramophone Editor’s Choice, BBC Music Magazine Chamber Choice). In this programme devised by its director Laurence Dreyfus, the viol consort Phantasm continues to shine new light on the fugues from Bach’s Well-Tempered Clavier interspersed with some of the composer’s most harmonically adventurous experiments from the Clavierübung III. This polyphonic feast also includes two works from the Inventions and Sinfonias as well as the Fantasia in G major BWV 572, or Pièce d’orgue as it is sometimes called, which boasts an extraordinary closing pedal point. A fitting end to a remarkable journey!

Dong Hyek Lim arrived on the scene at just 18 years old ‘in a blaze of pianistic glory’ (Gramophone) with a debut album championed by his mentor Martha Argerich. The South Korean virtuoso went on to take third prize in the 15th International Chopin Piano Competition. Ten years later, following studies with Emmanuel Ax at the Juilliard School in New York, his artistry has matured and deepened for this long-awaited recital of the 24 Preludes and other works by Chopin – a composer who remains especially close to his heart.