Uncompromisingly, the composers of Latin America pay a no-holds-barred tribute to their peoples, enhancing the melodies and rhythms that drive their lives. From romantic influences to innovating languages, each work testifies to a tradition. For Vittorio Forte, this record is also the snapshot view of a reflection which crystallises an urge to explore a unique realm, to delve into it and embark on a journey, to retrace an entire history, going back to the very origins of what inspires artistic creation.

As a Japanese cellist, Michiaki Ueno wishes to introduce the world to the remarkable body of music composed in his homeland. At first glance, this might seem like a conventional statement - something anyone might say. Yet, when we consider his background, the words take on a different weight.

Born of a friendship formed at London's Royal College of Music over 10 years ago and boasting a discography of seven recordings, the Busch Trio takes its name from the legendary Adolf Busch, whose G.B. Guadagnini violin Mathieu van Bellen has the honour of playing. Van Bellen and the Epstein brothers — Omri on piano and Ori on cello — now launch their ambitious project of recording the complete Beethoven piano trios.

Carlo Mazzoli e Silvia Rambaldi, studiosi appassionati degli strumenti storici e della prassi esecutiva della musica antica, sono stati docenti per molti anni – rispettivamente di Pianoforte e di Clavicembalo – al Conservatorio «G.B. Martini» di Bologna, dove hanno realizzato numerosissimi progetti didattici e concertistici. Hanno avuto un riferimento costante nel maestro Luigi Ferdinando Tagliavini, con il quale hanno collaborato assiduamente all’attività del Museo di San Colombano di Bologna che dal 2010 ospita la sua collezione di strumenti storici; sono entrambi presenti con alcune esecuzioni, solistiche e in duo, nel dvd Il vibrar dell’aria dedicato al Museo. Proprio con esecuzioni su tali antichi strumenti ha preso il via lo studio delle opere di Clementi per duo che ha portato a questa registrazione integrale.

The first album of Postcards from Ukraine gave a potted history of Ukrainian music in the form of a series of miniatures for piano and violin. In this second instalment four representative chamber works demonstrate how quickly music in Ukraine developed its own identity – although all four composers here had to contend with repression by the authoritarian regime to the north. One of them, Vasyl Barvinsky, even spent ten years in the Gulag, with his manuscripts destroyed by the Soviet authorities. Upon his release, unbowed, he set about reconstructing those lost scores, though he died before he could complete the task. His glorious A minor Piano Trio gives an indication of what was nearly lost – and how much remains to be discovered.

From the early 17th century onwards, the polyphonic motet that had dominated sacred music in previous centuries found itself complemented in both liturgical and devotional contexts by a new, more stream– lined form: the solo motet.

This anthology of unknown American violin sonatas – the first of a series – reveals music of astonishing craftsmanship and energy. All three composers – Rossetter Gleason Cole, Henry Holden Huss and Henry Schoenefeld, born less than ten years apart – went to Germany to study before returning to enrich American musical life at the turn of the nineteenth and twentieth centuries. The sheer confidence of their writing, for both violin and piano, in these sonatas, in a bold Brahmsian style, indicates how much more fine music still has to be discovered, in the output of these three men and from their ‘lost generation’ of American composers more generally.

The 1977 Voyager I and II spacecraft contained, among other things, two “Golden Records” that each carried a representation of life and culture on Earth into deep space. The records included the sounds of nature, greetings in 50 languages, and an assortment of music from around the world.

Pier Paolo Scattolin’s eclectic compositional style, which developed in parallel with his assiduous activity as a choir conductor, reaches an important stage in this discographic production with a sacred and spiritual character, in contrast to his last cd Suoni e rime sparse published in 2021 and centred on profane poetic inspiration.

5 stars: Johansen is not the first guitarist to record this entire collection, but he might be the best to do so.

Leonor Watling, renowned actress and singer, embarks on a new musical adventure alongside musician and composer Leo Sidran. Leo & Leo is the result of a mutual admiration that has developed over time. Watling, known for her work with the band Marlango, discovered Leo’s talent through her fascination with his father, the poet and musician Ben Sidran. Meanwhile, Leo, a fan of Leonor’s acting, connected with her music thanks to Marlango and his friendship with Jorge Drexler, the Uruguayan singer-songwriter and Watling’s husband.

Star-violinist Christian Tetzlaff, the BBC Philharmonic Orchestra and conductor John Storgards present in this album two major British violin concertos written between a century, in 1910 and 2005. Elgar's passionate violin concerto, completed in 1910, is a classical-romantic violin concerto in three movements. This huge and highly emotional work was in the wake of modernism neglected for several decades before entering into standard concerto repertoire.

Her fifth recital album on Signum Records, celebrated soprano Mary Bevan returns with a selection of French songs, featuring works by composers including Britten, Ravel, Debussy and Faure.

With her unmistakable trumpet sound, Linnea Jonsson has emerged as one of the most expressive voices on today’s Nordic jazz scene. Now she celebrates the release of Hive Mind – a subtle yet powerful album built on collective artistry, featuring some of the most exciting young players in Scandinavia. Guesting on the album is legendary pianist Lars Jansson. The music flows through ECM-toned atmospheres, Nordic introspection and New York-inspired energy all carried by Jonsson’s lyrical tone and deep musical presence.

A compelling introduction to the choral works of Simon Beattie, this album showcases a fresh yet deeply rooted voice in British music. Entirely self-taught, Beattie draws on the English choral tradition with a rare sensitivity to text and vocal colour.