Reference Recordings is very pleased to present the third release in our series from the PaTRAM Institute™, rising stars whose previous two albums on our label, Teach Me Thy Statutes (FR­727SACD) and The Divine Liturgy of St. John Chrysostom (FR-­731), have been honored with GRAMMY® nominations for Best Choral Performance. The music performed on this new recording of Russian Orthodox choral music comprises works of many great Russian composers, all celebrating the theme of Russian Orthodox hymns dedicated to the Virgin Mary.

My name is Magdalena Chmielowiec-Kozioł and I am a professional violinist.

Masaé Gimbayashi-Barbotte commence le piano classique à l’âge de 5 ans à Tokyo.

For Anastassiya Dranchuk's debut album 'Rites de Passage', the choice of pieces by Tchaikovsky, Say, Schubert and Liszt was no coincidence. The plays had and still have a special emotional meaning in Anastassiya's life. For her, the individual compositions represent rites of passage (rites de passage, a concept from ethnology): they tell of the transition from childhood to adulthood, peace/war, birth/death… In general, it is an emotionally and tonally very colourful, technically demanding programme, which has the most diverse dualities on the topic.

Witness to a solid and emblazoned tradition, Giacomo Miluccio (1918-1998), knew how to combine all those souls thai distinguished Neapolitan-trained artists for centuries. Ceaseless study led him to master the instrument with that mastership exhibited with "natu ralness " and "simplicity "; he generously instructed a group of instrumentalists and constantly showed his performative vocation among the ranks of the centuries-old Sancarlian orchestra as well as in solo and chamber music.

The genesis of Ludwig van Beethoven’s Symphony Number 3 in E-Flat Major, the “Eroica”, has long been brought into connection with the composer’s early admiration for Napoleon. Indeed, Beethoven had initially intended to entitle the work “Bonaparte”, but he withdrew the dedication when the Corsican, as First Consul of a military-backed republic, crowned himself emperor on 2 December 1804.

Hermann Scherchen (21 June 1891 – 12 June 1966) was a German conductor.

The tenor Sebastian Kohlhepp and his piano accompanist Andreas Frese present piano songs by Schumann, Liszt and Sjugren on their CD for ARS PRODUKTION, to which one can attach rhapsodic, folkloric or historicising subjects.

David Fyodorovich Oistrakh (né Eustrach; 30 September [O.S. 17 September] 1908 – 24 October 1974), was a Soviet classical violinist, violist and conductor.

Realeased by Nota Bene Records 24 March 24, 2023. Die Zauberflöte, K. 620: "Ouverture" performs Zagreb Woodwind Trio & Zoran Novačić.

Enrico Maria Polimanti si muove con sicurezza all’interno di un repertorio che si estende da Lodovico Giustini a Caroline Shaw.

Lukáš Vondráček and Sergei Rachmaninov. Scarcely do we encounter a connection between a musician and a composer so close, strong and energising. When, at the age of 15, Vondráček was invited by Vladimir Ashkenazy and the Czech Philharmonic to perform Rachmaninov’s Concerto No. 1, he had garnered international acclaim at numerous concerts and competitions. Just a year later, the pianist toured the USA and appeared at Carnegie Hall. At the age of 29, he triumphed at the Queen Elisabeth Competition in Brussels (2016), performing Rachmaninov’s Concerto No. 3, conducted by Marin Alsop.

The penultimate volume of Mozart’s works performed by Walter Gieseking for his bicentenary homage. This series includes the most famous sonatas of Mozart’s maturity such as the Turkish March and the Linz sonata.

The competition from Berlin sees Beethoven more as the forefather of modern orchestral language par excellence and relies on targeted pathos. But Herbert von Karajan's interpretation of the nine symphonies with the Berlin Philharmonic from the sixties has long been a piece of recording history.

This Da Vinci Classics album focuses on the soundtrack of an ancient Italian film, the subject of which is taken from a poem by Fausto M. Martini (1915). The film was made by Nino Oxilia and covered with sounds by Pietro Mascagni. The film revisits the myths of Faust and Dorian Gray, seen from a female perspective. Mascagni, whose fame was based mainly on his operas, sensed the potential of cinema which he considered as the future of opera, or the artistic expression that would replace singing theater as the public's preferred means of entertainment.