Simon-Pierre Bestion has chosen to mirror two Stabat Mater that are more than 150 years apart: "in these two works I can feel the same tonal language, the same expression of sorrow" says the founder of La Tempête… "I have decided to ‘augment’ Scarlatti’s orchestration and ‘diminish’ Dvořák’s, so they can meet on even ground. To the Scarlatti I have added string parts sometimes doubling the vocal lines, colla parte , as was often done at the period: this not only allows the sound to be amplified, but adds an extra timbre to the voice.

The SWR Vokalensemble, directed by Yuval Weinberg, released a digital recording of Josef Gabriel Rheinberger’s "Cantus Missae" (Missa in Es, Op. 109) on May 8, 2026. This recording is part of a larger project, "Rheinberger & Frank: Masses for double choir," scheduled for a full release on June 12, 2026. The performance was recorded live on December 7, 2024, at the Parish Church of St. Michael in Stuttgart-Sillenbuch.

Josee Koning is a renowned Dutch singer and leading lady of Brazilian music in the Netherlands, recognized for her velvety voice and expert fusion of jazz with bossa nova and MPB (Musica Popular Brasileira). With a career spanning over 30 years, she has released 14 albums and collaborated with Brazilian icons like Ivan Lins, Dori Caymmi, and João Bosco.

This 19th volume of Haydn's complete symphonies coincides with the 40th anniversary of Il Giardino Armonico, the ensemble created and conducted by Giovanni Antonini, artistic director of the Haydn 2032 series. Il Giardino has made its mark on the baroque world with its revolutionary approach to Vivaldi, but Haydn has long been part of the Italian group's history, and Symphony No. 44, featured in this volume, was the first work by Haydn performed by the ensemble and Antonini. The title of this symphony, known as the “Funeral Symphony”, inspired the inclusion in this programme of Scheidt's Paduana Dolorosa, published in 1621 at the beginning of the bloody Thirty Years' War, and Arvo Pärt's Da pacem Domine, dedicated to the memory of the victims of the 2004 Madrid train bombings: ‘Its contemplative fixity and the sad Pavana dolorosa take on an almost cathartic function which, in my opinion, shows a perfect integration between music that is so stylistically and chronologically distant,’ says Antonini, who also conducts Symphonies Nos. 108 (1762) and 52 (1771).

A nun's lament for a man she is forbidden to love, a cleric's despair as his young beloved departs on a journey along the river Adige, a jongleur's song about a priest who tried to trap a wolf but ended up in the trap himself, poems celebrating birdsong and the beauty of Nature. A selection of profane chants and lyrics from post-carolingian Europe, brought back to life from the earliest medieval musical notation.

This production presents a World Premiere Recording of the Requiem by Antonio Gallego. Of whom we have no information other than his name. Which is preserved in the manuscript E-V5 of Valladolid Cathedral.

The anonymous L'homme armé tune was widely used in 15th- and 16th-century Europe as structural and melodic inspiration for composers to base their masses on. The reason for its enduring appeal is not really understood, but its catchy melody and evocative martial theme were clearly appreciated by composers from Dufay to Carissimi. De Profundis continues its Morales Project with two very different but equally exquisite Masses on this melody, alongside his spectacular Magnificat secundi toni.

This album opens with an Ismael Rivera composition titled BESITO DE COCO. Cleverly arranged by Jorge Millet. Celia and Justo take turns on the vocals throughout the album with Pacheco’s distinctive voice, which can be discerned in the background, along with Ramon Rodriguez.

How it was possible, without today's means of communication, for the reputation of a musician, who was also in the service of a single place of education and devotion, to spread throughout Europe is something that modern man will find difficult to comprehend. The fact is, however, that the Roman composer and bandmaster Giacomo Carissimi received visitors from all over the world around the middle of the 17th century because of his incomparable ability to express every emotion and every word in tones and harmonies.

Discover the musical wealth of Spain’s Golden Age with Missa super octo tonos, the newest release from Salamanca Cathedral’s Cathedralis label. This recording forms part of an ongoing and important effort to bring renewed attention to the works of Sebastián de Vivanco (c. 1553–1622), a distinguished composer and former chapelmaster whose music has long been neglected. Vivanco’s compositions—and indeed all his printed output—were issued by the printer Susana Muñoz, who, together with her husband Artus Tavernier, established one of the leading presses for sacred music in Golden Age Spain. In this sense, the album also pays homage to her as a key figure in sixteenth-century Spanish music printing.

Blending iconic choral works with music by today’s most compelling composers, Finding Light is a program centered on the theme of prayer. From the Renaissance exquisite writing of Sheppard’s Libera nos to the luminous sonorities of Lauridsen’s Ubi Caritas and Dubra’s Oculus non vidit, each work offers a distinct meditation on mercy, hope, and transcendence. Highlights include Randall Thompson’s timeless Alleluia and Stephen Paulus’ Hymn to the Eternal Flame, alongside deeply moving contemporary offerings such as Hanna Havrylets’ Prayer and Þóra Marteinsdóttir’s Nú legg ég þér í lófa. Together, these works invite listeners into a space of reflection and renewal, where timeless devotions converse with contemporary longings—and where voices join in a collective search for light.

Although four centuries have passed since the death of Claudio Monteverdi (1567–1643), one may say that he remains one of the most fascinating figures in the history of modern music. He lived at a decisive moment in history: the period that witnessed both the decline of a cappella vocal polyphony and the birth of music drama. His art marks, in a sense, the beginning of a musical era to which our own time still belongs. His exceptional longevity allowed him to experience the flourishing of the madrigal, with Luca Marenzio and Carlo Gesualdo, as well as the earliest developments of opera: in Florence, in Rome, and later in Venice.

release presents a rare and carefully curated selection from Panama’s golden era of music (1967–1979).

Newly recorded at the Basilica in Assisi, the birthplace of the Franciscan order, a comprehensive set of the ‘Rhymed Offices’ chanted by religious communities to bear witness to the miracles and virtues of St Francis and of St Antony of Padua.

The Fleming Giaches de Wert spent almost his entire life in Italy at the Gonzaga court in Mantua. He was one of those great composers who are able to transcend fashions and create art that is destined to remain "constant and eternal". The Ninth Book of Madrigals, published in 1588 at a time of personal hardship and pain over his thwarted love for the poetess Tarquinia Molza, marks a high point of artistry and pathos. Wert explores Petrarch's Canzoniere alongside verses by Torquato Tasso, Jacopo Sannazaro and Battista Guarini. He alternates between luminous courtly homages and an innovative lyricism that anticipates the style of Carlo Gesualdo.