Born in, Tokushima in 1989, Takuma Ishii has been a new type of pianist, aiming at making classical music more accessible by being active on various media resources. After graduating from the Department of Music at the Tokyo University of the Arts, he entered the Department of Piano at the University of Music and Performing Arts Vienna, where he received his Master’s degree in Piano with the highest honors and completed the post-graduate course.In 2016, he won the second prize in the piano section at the Georges Enescu International Competition in Bucharest, Romania, as the first Japanese to win, which has been held since 1958 and has been won by Radu Lupu and Elizabeth Leonskaya.

"Farasha" is the debut release of the award-winning (e.g. Anton Rubinstein International Competition) soloist and chamber musician Sindy Mohamed on Berlin Classics. The violist recalls her Egyptian, French and German roots and reflects this in a diverse selection of pieces for the viola. The album contains Sonatas for Viola and Piano by Breville and Hinemith, Mendelssohn-Bartholdy's Spring Song and a transcribed version of Saint-Saens' Sonata for bassoon and piano op. 168. In addition Sindy Mohamed presents a newly comissioned work by Khaled Al Kammar "Faten Amal Harby" for oud, viola, req and piano.

advena: liturgies for a broken world, featuring world premieres of choral music from composer Mark Buller performed by GRAMMY® Award-winning choir Conspirare and Artistic Director Craig Hella Johnson.

The Piatti Quartet and Emmanuel Despax join forces to present an album of works by Farrenc, Schumann and Durosoir. Louise Farrenc arranged her own brilliantly dramatic Wind Sextet and Piano, for Piano Quintet and this arrangement is a World Premiere Recording on this release. They’ve chosen to include three of Lucien Durosoir’s most touching and beautiful pieces, one for violin and piano, and two for cello and piano. “We are very proud to present this album which has been a dream of ours to record for some time” - The Piatti Quartet.

« I enjoy exploring imaginary continents, dreamed-up worlds, building bridges where, on paper, there would be none. This time, I want to create new musical cartographies — those of a lost, mythical, dreamed-up city: Atlantis. » Anne Paceo Between spirituality and the pull of the abyss, the drummer with a thousand and one rhythms immerses us in a substance that is both part of our lives and our everyday existence, while retaining an aura of mystery. Is her Atlantis a source of reflection on our world in the midst of upheaval and chaos? Or is it the (re)source of her wildly magnetic artistic inspiration?

It’s no secret that ‘Rapture of the Deep’ isn’t the first album that comes to mind when listing Deep Purple’s classics – and while it was met with interest at the time, it gradually faded from view. Despite solid sales, the album arrived during a period when there was little spotlight on the world of classic rock, and over the years, ‘Rapture of the Deep’ developed into an overlooked chapter in Deep Purple’s rich discography.

The 4th volume of the Complete recordings of Dussek’s Violin Sonatas, containing the two Sonatas Op.69 and the early Sonata Op.4.

With “ok”, his new album and ACT debut, French trumpeter ‘daoud’ offers a quiet manifesto - a record shaped by contrast and contradiction, by collapse and the stubborn act of beginning again. Built around the idea of accepting what cannot be changed. He explains: “The whole record is built around the concept of reluctant acceptance of things that you can’t control. All right, fuck it, fine, I guess.” The album explores failure, loss, repetition, and the soft absurdity of pretending everything’s fine. Across 14 tracks, daoud weaves tragedy and humor, chaos and tenderness, melody and noise into a rich and emotionally charged soundscape.

Unlike many of his contemporaries, Georg Philipp Telemann was not born into a musical family. His parents, descendants of a line of Lutheran pastors, wanted him to pursue a brilliant academic career, and Telemann taught himself to play various instruments such as the violin, flute, zither, and harpsichord. He quickly demonstrated great musical talent and began composing his first pieces at the age of ten, often in secret and on borrowed instruments. At twelve, he composed his first opera, Sigismundus. To discourage him from pursuing a musical career, his mother confiscated all his instruments and sent him to boarding school. She probably didn't know that the superintendent was passionate about music and that he would suggest that Telemann compose motets for the church choir every week, as well as occasional arias…

Trombonist Conrad Herwig, one of the most adventurous voices in Latin jazz, is back with a terrific new Savant release. This time he's teamed up again with the legendary Eddie Palmieri, a true icon of the genre, and bassist Luques Curtis, forming a trio that breaks all the rules. What sets this album apart? There's no drummer. In a musical style as rhythm-centric as Latin jazz, going drumless is almost unheard of - but that's precisely what makes this project so exciting.

The release of the debut album “Mas um Melodia” by Cláudia Sofia from Mindelo fits seamlessly into a whole series of amazing new musical discoveries from the Cape Verde Islands, which have been enriching the world music genre with interesting grooves and sounds for many years. The 10 original compositions by the singer and guitarist from the island of Sao Vicente, home of the icon of Cape Verdean music, Cesária Évora, who died in 2011, clearly show the cultural connection between the island of Sao Vicente and Brazilian music, in line with the Évora classic “Sao Vicente é um Brasilin”. (Sao Vicente is a little Brazil).

Double bassist for the stars of gypsy jazz (Biréli Lagrène, Stochelo Rosenberg, Angelo Debarre), William Brunard returns to his first love, the cello.

Maurice Ravel and Gabriel Fauré each contributed a single string quartet to the chamber music repertoire, but both works are masterful reflections of their distinct musical voices and the broader evolution of French music in the early 20th century.

George Coleman's resume is the stuff of legend. He cut his jazz teeth alongside some giants of the art form, joining Max Roach's ensemble in the 1950s, the Miles Davis Quintet, along with the bands of Herbie Hancock, Chet Baker and Elvin Jones. Mention must also be made of his work as a leader, which has inspired literally generations of saxophonists.

We begin with one of Shostakovich's earliest chamber works, the Cello Sonata, originally premiered by cellist Viktor Kubatsky with the composer at the piano. Kubatsky later transcribed the cello part for the viola with Shostakovich's approval. His version, along with subsequent transcriptions by Evgeny Strakov and Annette Bartholdy, adapted certain passages to suit the viola. For this recording, I chose to remain as faithful as possible to the original cello version, raising some passages by an octave to accommodate the viola's range. This is followed by Shostakovich's Impromptu, a brief but captivating piece discovered in 2017. The album concludes with Shostakovich's Viola Sonata, which stands as one of the cornerstones of the viola repertoire.