Third Man Records live direct-to-acetate recordings take place in the Blue Room in Nashville, TN and are cut exclusively on a 1955 Scully lathe that originally came from King Records in Cincinnati. Recorded live in one-shot, with no overdubs, no redo's, no starting-and-stopping, the process is truly of another time, rendered obsolete by the late 1950's and only available nowadays in TMR's locations in Detroit and Nashville. Kassa’s show was recorded on May 3, 2022.

Early in 1935, the American violinist Louis Krasner suggested to Berg that he write a violin concerto, but Berg, involved with the orchestration of his opera Lulu, was not then interested in a new project. However, the death from poliomelytis of his young friend Manon Gropius, daughter of Mahler’s widow, that spring so saddened him that he decided to compose a concerto as a memorial to her. Te score was finished on August 11, 1935 – record time for the slow-working, meticulous Berg. Dedicated ‘to the memory of an angel’ the Violin Concerto was to be his last completed work, for on December 24 he died of septicemia of the age of fifty. Krasner gave the world premiere on April 19, 1936, in Barcelona, under Hermann Scherchen.

Two classic piano quintets from two centuries — Brahms and Shostakovich — are given superb renditions by acclaimed pianist Olga Kern and the Dalí Quartet.

The last two of the six String Quartets written by the composer of The Miraculous Mandarin, bringing together the most perfectly balanced between its two night musics, framed by three pillars of an arc built with ‘country’ material as authentic as it is violent (5th), and finally, the distressed, funereal farewell of the 6th with its sad (‘mesto’) ritornello.

The Doric String Quartet is firmly established as one of the leading quartets of its generation, receiving enthusiastic responses from audiences and critics around the globe. Following their acclaimed recordings of Mendelssohn’s string quartets, here the quartet is joined by leading violist Timothy Ridout for an album of Mendelssohn’s two string quintets. These were written at the beginning and end of his short but remarkable compositional life.

Celebrating the work of Benjamin Britten, this album combines three of the composer’s enduringly popular, yet vastly distinctive works. Sir Simon Rattle leads us on an unexpected journey through this diverse collection of masterpieces.
Written shortly after the outbreak of World War II, Sinfonia da Requiem meditates in part on the political populism which had, for the second time in just a few decades, plunged the world in to an existential crisis. In this piece, Britten’s rich, yearning harmonies reveal a sombre and dramatic warning of the cost of conflict.From the darkness of war, we move towards the light with Britten’s choral Spring Symphony. With its mysterious reimagining of traditional English folk song and verse, the work depicts the gradual reawakening of the natural world when winter ebbs away, and spring begins to triumph.Britten let his imagination catch fire in The Young Person’s Guide to the Orchestra. This brilliantly original showpiece is one of the composer’s best-known pieces, and draws the album to a close.

What if the tour de force of French opera in the Age of Enlightenment was Scylla et Glaucus? At the age of 50, the famous violinist Leclair decided to write his first operatic piece, investing irrepressible energy in it. The drama is unrelenting: the nymph Scylla spurns the advances of the Demigod Glaucus, who seeks out the sorceress Circe to cast a spell on her; Circe is in love with Glaucus, drives Scylla to madness and turns her into a deadly rock… An infernal scene, an ocean storm and final cataclysm are employed to give striking relief to this trio of unappeased love, the effusions of irresistible beauty. The conductor and violinist Stefan Plewniak conducts a glorious stage of soloists in the eddies of vengeance!

Mari Kodama presents New Paths, exploring the young Johannes Brahms and his fascinating friendship with Clara and Robert Schumann.

Paul Lewis explores the world of late Brahms. The old master, far from growing more sedate, deploys a palette of infinite colours and sensibilities in his last four collections for solo piano. By turns tender and dazzling, intimate and tempestuous, these pieces appear to us as their composer’s final confidences, entrusted to a crepuscular diary.

Paul Lewis completes his exploration of Schubert’s sonatas, begun almost twenty years ago, with three early masterpieces. The Sonatas D 537 and D 568 display the daring and freshness of their youthful creator, while with D 664, dazzling in its artless charm, he already opens a window towards new musical horizons.

Debussy and Messiaen regarded Iberia as THE piano masterpiece of the twentieth century: ‘One’s eyes close, as if dazzled from having gazed upon too many images’, wrote Debussy in 1905. For Nelson Goerner too, this suite in four books, which evokes Andalusia and the working-class districts of Madrid, is a work of major stature: ‘I am of Argentinian origin, this music touches me, it is like an arrow that pierces me… From the sublime incantation that is Jerez , an invocation of the mysteries of night, to Lavapiès , famous for the pianistic difficulties posed by its polyphonic convolutions and hand-crossings, Albéniz’s music exudes a panache and a joie de vivre that, in my view, make it a milestone of supreme importance.’

Cinema enthusiasts all over the world can probably call up some of the wonderfully circus melodies to Federico Fellini's films at any time. The suggestive power of this music is irresistible, its composer Nino Rota (1911-1979) became an instant classic.

The new collaboration between Lisa Gerrard and Marcello De Francisci - Exaudia. “Exaudia” – Definition: A king concedes audience and fulfills a wish that is petitioned.

Semele is a masterpiece. For what else can one call a drama in which the perfect symbiosis of text and music conjures up such suggestive power? ‘To hold the mind, the ears and the eyes equally spellbound’: this recommendation by La Bruyère (Les Caractères: ‘Les ouvrages de l'esprit’) refers to the ‘machine plays’ so adored by the public in the Baroque period. But even without machinery or indeed without sets or real staging, Handel’s oratorio involves us in the tragic fate of his heroine with supreme skill.

"A life-changer – recorded at a moment in time when Willie & company happened to be the greatest rock 'n' roll band in the world!" – Steve Simels, PowerPop