Max Bruch's Violin Concerto No. 1 in G minor, Op. 26, is one of the most popular violin concertos in solo violin repertoire and, along with the Scottish Fantasy, the composer's most famous work. It has been recorded often.

Pianist Nicolas Stavy, who has already made recordingsdevoted to works by Boris Tishchenko (BIS-2189) andDmitri Shostakovich (BIS-2550), now presents the firstinstalment of a complete survey of Alfred Schnittke'scompositions for solo piano. This recording presentsworks from various periods of the Russian-Germancomposer's career - from the 1950s, which thecomposer described as the 'years of obscurity', to the1990s, a time shaped both by world fame and seriousillness. While Schnittke wrote relatively little music forthe piano, each work reflects - or sometimes anticipates- the phases of the composer's creative development.

In this debut album, baritone Jonas Müller and the Tomasi Musso Guitar Duo have recorded Schubert’s Winterreise.

Alfonso Rendano was at the forefront of Italy’s instrumental composition renaissance in the late 19th-century but remains less well known than his near-contemporaries Giovanni Sgambati and Giuseppe Martucci. He was also a prominent pianist who performed with the illustrious violinist Joseph Joachim. The rhapsodic Piano Concerto, recorded here for the first time in its original edition, was premiered in a version for two pianos in which the composer was joined by Franz Liszt who called it ‘a vigorous, remarkable work, one I greatly appreciate’. The Allegro in A minor was rediscovered in 1969 and dates from Rendano’s artistic maturity. The Piano Concerto is performed in Vito Cristofaro’s edition and performed by him with Rendano’s leading contemporary exponent, Daniela Roma.

This recording is based on a little-known manuscript for guitar and fortepiano held at the Glinka Museum of Music in Moscow. On one level, the album aims to support the revival of the Russian seven string guitar, an instrument with its own distinctive tuning (D–G–B–d–g–b–dʹ), rich history, and unique repertoire.

"Originally from Venezuela, Speranza Galez blends the traditional music of her country with jazz" (France Musique).

Best Western, the new self-produced album from Bones Owens, showcases the artist at his most restless and unfiltered. Released through Thirty Tigers (Sturgill Simpson, Smashing Pumpkins), this marks Owens’ third full-length with the label.

Emilia Quinn is a dynamic UK-based musician and singer-songwriter known for her raw, soulful voice and genre-blending sound that fuses Americana, Country, and Rock influences.

In 1984 the pianist Slava Kantheff met the Austrian chansonnier, guitarist and author Peter Horton and they fell in love. The very next year, for Thomas Gottschalk’s TV programme “Na Sowas”, they spontaneously came up in a live broadcast with Peter Horton’s “Freaky Fingers”, put together within a week. After that they were to be seen in just about all the celebrated TV shows at home and abroad. It was the start of a musical and personal journey that was to last for decades.

In a city that’s historically produced some fantastic keyboard players, Memphis musician Tony Thomas has proven to be one of its most venerable practitioners, both as pianist and organist.

Originators of the "Hoboken Scene" The Lost Live Album from 1985 is released for the first time.

After several successful album releases in a mainstream setting, Chief Xian aTunde Adjuah, known then as Christian Scott, chose ropeadope to continue his path towards full control of his artistic identity.

The 33 Variations on a waltz by Anton Diabelli, Op. 120, commonly known as the Diabelli Variations, is a set of variations for the piano written between 1819 and 1823 by Ludwig van Beethoven on a waltz composed by Anton Diabelli. It forms the first part of Diabelli's publication Vaterländischer Künstlerverein, the second part consisting of 50 variations by 50 other composers. It is often considered to be one of the greatest sets of variations for keyboard along with Bach's Goldberg Variations.

This CD is a celebration of female composers in classical music. For too long their work has been undervalued and overlooked, and unrightly so. Their work, if not dismissed, has often been attributed to male composers. We invite you to a journey across three centuries of extraordinary piano music. See for yourself, why we chose to borrow the title of "Femmes de legende": invisible heroines, whose works deserve to become deeply embedded into our repertoire. "Frauen als Muse" alludes to our ambition for this project to become an inspiration and empower future generations of musicians.

SOMM Recordings is thrilled to collaborate once again with the Tessa Uys and Ben Schoeman piano duo following their highly praised six-volume recording of the nine symphonies by Beethoven arranged for piano duet by Xaver Scharwenka—about which International Piano says, “These readings afford unmitigated pleasure … the articulation and voicing of the players persuades us into thinking we’re in the middle of an unleashed virtuoso orchestra.” Now, these award-winning South African-born artists present music for two pianos and piano duet from their adopted country, highlighting works by Gustav Holst and Edward Elgar.