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Jordina Milla - Barry Guy:

Live in Munich

This live recording, from Munich’s Schwere Reiter hall, documents the debut concert performance by the duo of Catalan pianist Jordina Millà and British bassist Barry Guy. Together they they shape fluid, highly detailed music, of ever changing mood, and cast fresh light on the meaning and possibilities of “extended technique” in free improvisation. The musicians first crossed paths at Barcelona’s Mixtur Festival in 2017 where Guy was composer-in-residence, creating a piece together with a mixed festival ensemble of professionals and students. Millà, as one of the pianists in the group, immediately stood out for her “commitment, energy, virtuosity and creativity,” and a musical friendship was established.

Brian Eno:

ENO (OMPS)

“This soundtrack to Gary Hustwit’s documentary of the same name provides a neat reminder of Brian Eno’s polymathic brilliance…. An essential, though naturally incomplete, survey of Eno’s myriad musical strategies.” – Electronic Sound

The Official Soundtrack to the 2024 Gary Hustwit generative film Eno, is available now on vinyl and CD on UMR, the same time as the unique documentary enters cinemas.

There are two beautifully packaged versions of the vinyl - 2LP recycled black vinyl and limited edition 2LP pink & white vinyl - and a 73-minute-long CD with an illustrated 16-page booklet of elegant portraits. 

Eno - the definitive documentary about the visionary musician, artist and activist is a typically groundbreaking project - a feature film that’s never the same twice. The film is now playing in cinemas as well - firstly at Picturehouse Cinemas across the UK and a run in one of New York’s most respected cinemas, Film Forum. Fans in Los Angeles, Nashville, Austin and Toronto can also watch screenings soon after, and a week-long run in San Francisco is at the Roxie from July 26th. For more information on these film screenings, 

Accompanying this groundbreaking new film is an OST that serves as a companion audio journey touching on Eno's output throughout his rich career. The 17 tracks included on the physical album feature work from early solo outings such as Taking Tiger Mountain, acclaimed collaborations with the likes of David Byrne, John Cale, Cluster and more recently, Fred again... all the way through to music from his latest album, FOREVERANDEVERNOMORE.

Today, Eno also presents the music video for “Stiff” (WATCH) – vintage Eno with its irreverent lyrics, humor and uniquely identifiable sound which was originally included on the highly elusive Eno album My Squelchy Life. Due for release in 1991, the entire album was pulled because of scheduling delays and remained out of the public realm until it saw the light of day in 2015. Some of the original recordings on My Squelchy Life eventually evolved into Nerve Net but for reasons now forgotten, it was decided not to include “Stiff.” The original Eno footage included in the video was shot in the early 90s and finally unearthed by Gary Hustwit in the making of the Eno film. The song is included in both the film and official soundtrack album.

The OST also features the brand new song, “All I Remember” (LISTEN / WATCH). The closing song from ‘Eno’, it was especially written for this film and is a contemplative, reflective vocal track that sees Eno referencing early influences and experiences. As well as this, there are two unreleased tracks on the album, “Lighthouse #429” (LISTEN / WATCH) and ‘By This River’(Live at The Acropolis) (LISTEN / WATCH). The former was taken from Eno’s Sonos radio station, ‘The Lighthouse’, where the programming exclusively delves into his extensive archive and is the first track to have had a public release from the station. “By This River (Live at The Acropolis)”, a fan favourite was originally performed by Brian and brother Roger Eno at the Acropolis, Athens in August 2021.

Norma Winstone - Kit Downes:

Outpost of Dreams

Her first ECM recording in six years finds Norma Winstone in a new duo with pianist Kit Downes. A unique artist as both jazz vocalist and lyricist, here Norma brings her poetic sensibilities to new pieces by Downes as well as compositions by Carla Bley, Ralph Towner, and John Taylor. The programme is completed with fresh perspectives on two traditional tunes, “Black Is The Colour” and “Rowing Home.”

The duo, Norma says, was “a chance thing”, a musical unit formed almost accidentally. Winstone’s regular pianist for work in Britain, Nikki Iles, was unavailable for a gig in London, “so I booked Kit. I’d never played with him before. And of course, he could play everything immediately, and amazingly. So we did a few more concerts, and I found I responded to the sense of adventure in his playing. You never know quite what is going to happen, and I love that quality.” When London Jazz News collected a round-up of greetings for Norma’s 80th birthday, she recalls, Downes wrote: “Can’t wait to jump off musical cliffs together again in the near future.” She laughs: “That’s the way we both think of it. We’ll see where the project takes us. “

For Winstone, adding words to music has most often been a matter of living with a composition until it yields up its inner message. “I feel I’m looking for words that are already in the music. Always. That’s how I work. And if the words do come, it’s as if they were always there.” The same process was focused upon the newer pieces here although Norma was also open to narrative prompts, as on “Out Of The Dancing Sea”.

Regarding this piece, Kit Downes explains: “The Scottish painter Joan Eardley used to paint the same scene from her garden, looking at the sea, many times in a row. With it always being different in some way from the light, time of day, her own mood, weather etc., even though it was the exact same view. She also used to leave the canvas outside overnight, so bits of ‘nature’ would be stuck to it. This was the inspiration for the music Aidan O’Rourke and I wrote, which in turn was also inspired by James Robertson’s short story about her [The Painter in the collection 365 Stories].” Norma takes up the tale, in her own way, in the lyrics.

Giovanni Guidi:

A New Day

Rekindling the familiarly flowing interplay with fellow travellers Thomas Morgan and João  Lobo – the trio’s musical partnership goes back over a decade at this point –, on A New Day Italian pianist Giovanni Guidi moreover expands the group’s instrumental grasp with the introduction of American saxophonist James Brandon Lewis, who makes his ECM debut here. Not only is the ensemble scope widened; with Brandon Lewis in tow, new dialects and fresh perspectives are broached, and different instrumental paths taken, inspired by an overall heightened sense of communication and Lewis’s unmistakable, confident tone.
On the opportunity to include the saxophonist in his band, Giovanni explains that his conversations with Brandon Lewis go back many years and that witnessing him live led Guidi “to believe that with James, the group dialogue could develop towards more abstract, open and improvisational approaches. In a way it was quite the gamble, as we come from very different paths, but the session for A New Day proved us right: the trio is pushed into new territories, while James – in my view – finds a very unique and interesting way to connect with us. It was a sincere journey of discovery.“

Rubato is not just guiding principle but inevitable consequence of these individual forces joining together – and the result all the better for it. Throughout the set, a relative pulse, rather than strict time, dictates the organic ebb and flow of musical expression, as the four highly attuned players exchange ideas, glances or even just inklings of thought, developed – like connecting dots – to a greater whole. While navigating through this maze of impulses and reactions, powerful, often wistful melodies are intoned, naturally – almost autonomously – rising from the respective structures like mountain peaks cutting through clouds. 

The album opens with „Cantos del Ocells“, a Catalan traditional famously interpreted by Joan Baez in the 60s. After an expansive trio introduction to the song, carefully considered between piano, bass and drums, Lewis makes his entrance with curved lines and expressive temperament, not clinging to the main melody but rather swaying alongside its most significant notes with improvisatory freedom. Guidi contrasts these nimble lines with drone-like, arpeggiated piano patterns, embedding the quartet in a spellbinding haze – the pianist will continue to draw on this approach frequently as the programme continues to unfold.

Five of the seven tracks are Guidi originals, bar one group improvisation, that demonstrate the pianist’s multiple-expressions-channelling jazz vernacular in bubbling group dynamics, where each individual plays to their strength. Thomas Morgan’s striking bow-work is to the fore on „To A Young Student“, while „Means for A Rescue“ opens the field for João Lobo’s vivid percussion etchings – both canvases feature the trio in its pure form and more adventurous than ever. 

Ensemble for These Times (E4TT):

Emigres & Exiles in Hollywood

Award-winning SF contemporary chamber music group Ensemble for These Times (E4TT) — is proud to announce the release of the group’s fifth recording, “Émigrés & Exiles in Hollywood” on July 12, 2024 on Centaur Records (CRC 4111). The result of a multi-year exploration via the group’s “Jewish Music & Poetry Project (JMPP), the digital EP features music by many of the talented émigré composers who fled a war-torn Europe during World War II for Los Angeles, going on to write film noir and other movie scores and establish the “Hollywood” style that we hear in the music of John Williams and so many other films today, as well as landing in academia and shaping the next generations of American composers. Featuring chamber music, arrangements, and songs by eight composers—Erich Wolfgang Korngold and Miklós Rózsa, both of whom went on to win Academy Awards, Hanns Eisler, Bronislaw Kaper, Arnold Schoenberg, Alexandre Tansman, Henryk Vars, and Eric Zeisl—and is performed by soprano Nanette McGuinness, cellist Abigail Monroe, and pianist Margaret Halbig.
“Emigres & Exiles in Hollywood,” was made possible, in part, by grants from the Dennis Schuman Foundation, The Puffin Foundation, the Ross McKee Foundation, the Koret Foundation, and E4TT’s generous supporters.

A LEGACY CREATED
“Émigrés & Exiles in Hollywood” is the result of Ensemble for These Times’s multi-year exploration of émigré composers from World War II, whose legacy has been so important to the world and yet whose contributions to musical and cinematic culture are so often forgotten today—sometimes because their work for the film studios went uncredited. It is no exaggeration to say that the course of film and classical music written throughout the world after 1940 was both enriched and irrevocably guided by the many talented exiles who settled in Southern California to escape persecution from the Third Reich.  The repertoire in the initiative ranges from standard classical chamber music to arrangements and excerpts of operatic/classical works, as well as movie tunes, pop songs, and arrangements. The album consists of favorites from the initiative by eight composers, most of whom were nominated for and/or won Academy Awards: Hanns Eisler (None But the Lonely Heart; Hangmen Also Die), Bronislaw Kaper (Mutiny on the Bounty; Lili), Erich Wolfgang Korngold (The Adventures of Robinhood; The Sea Hawk), Miklós Rózsa (Ben Hur; A Double Life; Spellbound), Arnold Schoenberg (the towering inventor of twelve-tone compositional technique; Walk the Rex), Alexandre Tansman (Paris Underground; Flesh and Fantasy), Henryk Vars (Schindler’s List; Flipper; The Pianist), and Eric Zeisl (Song of Russia; The Postman Always Rings Twice).  Some, such as the works by Korngold and Schoenberg, are better known than others–although few are ubiquitous in today’s concert halls–but others, particularly the Vars Polish songs, and the Zeisl art songs, are true rarities, barely heard since their era and with scores that only exist in archives.  

ABOUT THE ALBUM
To be released as Centaur CRC 4111, the album features 25 works for various combinations of soprano, cello, and piano: Eisler: Der Kirschdieb (1942) and Hollywood-Elegie Nr. 7 (1947); Kaper: “Invitation—A Study for Piano” (based on a theme from Invitation, 1952); Korngold: Tanzlied des Pierrot, arr. cello and piano, from Die tote Stadt, Op. 12 (1916-20); Serenade from Der Schneemann, arranged for cello and piano (1909); Rózsa: Kaleidoscope, Op. 19b (1946), March, Zingara, and Burlesque; Schoenberg: “Galathea” from Brettl Lieder (Cabaret Songs, 1901), for soprano and piano; Tansman: Six Songs for Voice and Piano: “Cabaret” (1934) for soprano and piano; Trois préludes en forme de blues (1931): Movement I. Lento cantabile and II. Moderato, for piano; Recueil  de Mazurkas (1918-28), I. Oberek and VIII. Moderato for piano; Deux Pièces (1931) I. Mélodie and II. Capriccio for cello and piano; Vars: “Echoes of Love” (1950), arranged for soprano, cello, piano; “Let the Chips Fall (Where They May)” from Man in the Vault (1956) for voice and piano; Nie wiedzialem (from Wyrok Zycia, 1933) for voice and piano; “Sleep My Child” (1948) for voice and piano; Zlociste wloski (from Jego ekscelencja subiekt, 1933); and Zeisl: Religioso and Hirten Melodie (Mélodie Pastorale) (Shepherd’s Melody) from Klavierstücke / November, 1937-38) for piano; Dieselbe for soprano and piano (1938); and Du, for soprano and piano (1928).

Via the group's Jewish Music & Poetry Project, the Émigrés & Exiles initiative has toured to the Krakow Jewish Culture Festival in Poland, the Los Angeles Museum of the Holocaust, UCLA, and the Paderewski Festival in Southern California, and venues in the Bay Area. “Émigrés & Exiles in Hollywood” is the group’s small but important attempt to help fill this lacuna, along with providing a tiny glimpse of the music of these composers’ often-forgotten but nonetheless wonderful oeuvre. To this end, our decision in recording the collection on this album has been to include individual movements of more pieces rather than fewer but longer complete works.

Christopher O'Riley:

The Well Tempered Clavier Book I

Christopher O’Riley’s The Well Tempered Clavier Book I delves into the subtle intricacies of Bach’s famous masterwork, revealing the composer’s nuanced craftsmanship through an exploration of the spaces between notes. Inspired by Bach’s profound lyricism and informed by historical insights, O’Riley’s interpretation transcends conventional keyboard traditions. Embracing the expressive potential of articulation and texture, he illuminates counterpoint with dynamic contrast, unveiling hidden dialogues within Bach’s compositions. Through meticulous attention to intonation and rhythmic flexibility, O’Riley uncovers layers of meaning, echoing the Japanese concept of “Ma” — the significance of space and silence. This album invites listeners to immerse themselves in Bach’s universe, where every pause resonates with depth and possibility.

Trent Reznor - Atticus Ross:

Challengers(Original Score)

The Milan Records release of CHALLENGERS (ORIGINAL SCORE) features music from Director Luca Guadagnino’s new film composed by two-time Oscar®* winners TRENT REZNOR and ATTICUS ROSS. Set within the high-stakes world of professional tennis, the film required a soundscape as thrilling as the onscreen action, prompting Guadagnino to turn to hard-hitting techno and electronic music as the starting point for Reznor and Ross’ scoring efforts. The result is a powerful, propulsive score that perfectly matches the pulse of the film, its pulsating techno rhythms and synthwork driving the story while enhancing the emotionality at its core. Also included within the 16-track collection is original song “Compress / Repress” co-written by Reznor, Ross and Guadagnino – listen here. Starring Zendaya, Josh O’Connor and Mike Faist, Luca Guadagnino’s Challengers arrives in theaters today from Amazon MGM Studios – get tickets here. Written by Justin Kuritzkes, directed by Luca Guadagnino.

Danish String Quartet:

Keel Road

Keel Road is the latest chapter in the Danish String Quartet’s reckoning with music from – or inspired by – northern folk and traditional sources, rounding off a decade of sustained engagement with the genre. Wood Works, issued in 2014 on the Danish Dacapo label gave notice of the extent of the DSQ’s commitment to folk, explored in parallel with their classical activities, and Last Leaf, released in 2017 on ECM New Series took the story further. A resounding success with press and public, Last Leaf ranked high amongst albums of the year at NPR, The New York Times and Gramophone, the latter magazine suggesting this might be “the best album of folk ditties from a string quartet you’ll ever hear”, an assertion now challenged by Keel Road. 

Once again, the group casts its associative net wide: “We set out on a musical journey that traverses the North Sea. For centuries, the main communication channel of Northern Europe, the highway and the internet of bygone eras. And even though known for its swift upsurges and strong gales, brave sailors would again and again travel the keel road, enabling a continuous exchange of goods, culture and music. The musical keel road of this album will take us from Denmark and Norway to shores far away: to the Faroe Islands, to Ireland and England.” The journey illuminates musical affinities as well as distinctions. “While folk music represents local traditions and local stories, it is also the music of everywhere and everyone. At the end of the day, our stories and our music remain closely connected. “

Anna Gourari:

Paul Hindemith - Alfred Schnittke w/Orch. Svizzera

In a programme that combines Alfred Schnittke’s Concert for piano and string orchestra with Paul Hindemith’s Symphony Mathis der Maler and the composer’s The Four Temperaments, pianist Anna Gourari together with the Lugano-based Orchestra della Svizzera italiana under Markus Poschner shines in powerful performances that dress these idiosyncratic and contrasting works in beaming colours. The recording, captured at the Auditorio Stelio Molo – abound with sonic detail –, undergirds both the counterpuntal fabric of Hindemith’s neoclassical leaning repertory, and the polystilistic maze of Schnittke’s Concerto, where, according to the composer himself “everything – unable to create the balance between ‘sunshine’ and ‘storm clouds’ – shatters finally into a thousand pieces”.

Julius Rodriguez:

Evergreen

You can find Julius Rodriguez in many places. You could walk into a packedMeshell Ndegeocello’s The Omnichord behind the piano with energy practically surging from his fingers through the room. You might scroll up on social media and catch him alternating from drums to bass to guitar at the speed of a jump cut. You may also step onto festival grounds and see him on stage either solo or accompanying another likeminded visionary, jamming like his life depends on it. No matter where, the New York-born and Los Angeles-based multi-instrumentalist, composer, and producer electrifies any lane. By doing so, he also transcends perceived boundaries between genres and styles, redefining the music to mirror his own fluid creative inclinations and delivering a sound that’s solely his alone.

Following widespread applause from The New York Times, Vanity Fair, The FADER, and more, collaborations with everyone from Wynton Marsalis to A$AP Rocky, and tens of millions of streams, he grows in as many directions as possible on his second full-length offering, EVERGREEN [Verve Records]. “I kept seeing the word EVERGREEN everywhere,” he recalls. “I looked up the definition, and it struck me. An ‘EVERGREEN’ is a plant whose foliage remains functional for all seasons. That’s similar to how I like to be; I want to be myself no matter the genre I’m playing or what’s going on around me. There are a lot of styles on this record, but it’s recognizably my voice.”

ARKAI:

'Ascent' & 'Electric Rain' from Crossroads

Hot off of their viral joint single release ICARUS with pianist sensation Tony Ann (over 5 million followers across platforms) and Decca Records, the award-winning electro-acoustic duo ARKAI is set to release their first solo single ASCENT on June 28 as part of their highly-anticipated debut album Crossroads dropping in August on ONErpm.

Janine Jansen:

Sibelius VC, Prokofiev VC1 w/Oslo Phil. - Makela

Decca is delighted to announce Dutch violinist Janine Jansen's new album, featuring violin concertos by Sibelius and Prokofiev, with Janine as the soloist in both works. These are her first new concerto recordings in nine years. Jansen is a musician of poise, sensitivity and elegance who regularly visits the world’s most esteemed orchestras and concert halls. Joining her on the album is Finnish conductor, Klaus Mäkelä, and the Oslo Philharmonic. Mäkelä’s Decca recorded cycle of the complete symphonies of his compatriot Sibelius with Norway’s flagship orchestra was described by BBC Music Magazine as ‘the most electrifying and often revelatory of them all.’

Sibelius’s Violin Concerto No.1 is coloured differently from its counterparts in the Romantic literature. Its combination of fire and ice - of display countered by introversion - is a facet of the score Jansen has always made her own. Her performances of the work, with Mäkelä in 2023, were widely acclaimed by European critics. In addition to Sibelius’s work, Jansen includes one of the major violin concertos of the twentieth century. Unbounded lyricism is pitted against destructive, forceful cynicism in the first of Serge Prokofiev’s concertos, a work in which Jansen has put her formidable technique in service of the work’s savagery and intimacy.

Jeff Goldblum & The Mildred Snitzer Orchestra:

Lover - Tattoo, Featuring Haley Reinhart

Jeff Goldblum revealed two brand new singles featuring singer, songwriter & actress Haley Reinhart. Accompanied by his long-time band The Mildred Snitzer Orchestra, the duo are covering Taylor Swift’s classic hit “Lover” & Loreen’s “Tattoo”, out digitally now via Decca Records. Physical 7-inch copies of the two tracks single will also be available on September 7th, and can be pre-ordered here.

Speaking about the release, Jeff Goldblum says: “With apologies to Sammy Cahn, recording with Haley is even lovelier the second time around. She interprets Taylor Swift and Loreen with her own unique style and skill to make it sound like it’s the first time you hear these love songs sung.”

Following the release of their latest EP ‘Plays Well With Others’, Jeff & the band toured across US & Europe, during which they performed short renditions of "Lover" and "Tattoo". With each show, the band's interpretation evolved, increasingly making them our own, much to the audience's delight. Naturally when the opportunity arose to record new tracks, they opted to create full arrangements of both songs. Haley Reinhart, with her profound understanding of both pop and jazz genres, was the ideal vocalist to enhance these recordings.

Jeff Goldblum has been playing the piano for most of his life, and performing with his band for the past 30 years, but it was only when he accompanied soul-jazz star Gregory Porter on BBC’s Graham Norton Show that the actor’s distinctive style and natural feel for the instrument caught the attention of Decca Record executives, who suggested he make an album. After a run of glowing reviews in the press followed by packed live shows in prestigious jazz clubs and venues in London, Paris and Berlin, which were met with yet more praise from critics, Goldblum landed a No.1 jazz album in both the UK and US with his record ‘The Capitol Studios Sessions’, followed up by another No.1 album ‘I Shouldn’t Be Telling You This’, in 2019.

Last year, Jeff Goldblum released in his inimitable style his EP ‘Plays Well With Others’, delivering  sheer joy with his idiosyncratic take on a collection of standards that, for him, are amongst the best songs ever written. With all tracks newly arranged by The Mildred Snitzer Orchestra themselves, Jeff is joined by an array of talented, and unexpected, guest singers including Kelly Clarkson, Mattiel Brown, Rodrigo Amarante or Freda Payne. 

Tomasz Stanko Quartet:

September Night

Recorded at Munich’s Muffathalle in September 2004, this previously-unreleased live album of the Tomasz Stanko Quartet is a fascinating document, capturing a developmental chapter in the group’s music: between the song forms of the Suspended Night repertoire and the improvised areas that the Polish players would explore on Lontano.  The Munich show was a highlight in a year in which the Stanko Quartet played a record number of gigs, with extensive tours of the US and Europe. The great trumpeter himself is at his charismatic best here, playing superbly, clearly inspired by the energetic support and communicative power of Marcin Wasilewski, Slawomir Kurkiewicz and Michal Miskiewicz, the dynamic young musicians for whom he had been a mentor. 

Oded Tzur:

My Prophet

There’s a cunning intensity that inhabits this freshly etched programme of five extensive pieces plus an introductory miniature, presenting saxophonist Oded Tzur in a light that balances the extremes: bright inflections of fiery refrains go hand in hand with long passages of ruminative and deeply felt interplay. In the process, the saxophonist exhibits some of his fiercest playing yet. Accompanied by his quartet of pianist Nitai Hershkovits, bassist Petros Klampanis and the new group member Cyrano Almeida on drums, the saxophonist continues on the idiosyncratic musical path he has carved out for himself – a flowing jazz idiom that seamlessly combines multiple forms of expression –,  while delving deeper into the meditative and highly concentrated realm of improvisation.

The Guardian’s John Fordham called Tzur’s last album Isabela “a bewitching session” and “a gem in the playbook of doing more with less,” while observing how his “saxophone tones materialise imperceptibly, (…) his fragile, meticulously-shaped notes seem to float in still air.” Indeed, The New York-based saxophonist’s uniquely soft, flute-like tone bears resemblance to none of his contemporaries and his uncompromising determination in forging a singular way through the realm of jazz and improvisation is unmistakably his very own, and has reached a whole new level of maturation on My Prophet.

Bruce Liu:

WAVES - Music by Satie

Bruce Liu Turns the Spotlight on Satie - The pianist continues his exploration of French pianism in a new digital album,  out on 28 June 2024

Waves: Music by Satie features two contrasting versions  of the composer’s six Gnossiennes “far more than a demonstration of virtuosity and sensitivity …,  this album is a beautiful journey of dreams, dance and poetry”?ResMusica on Waves: Music by Rameau · Ravel · Alkan

The much-anticipated debut studio album from Bruce Liu, winner of the 2021 International Chopin Piano Competition, was released to critical acclaim in November 2023. Waves: Music by Rameau · Ravel · Alkan – Liu’s homage to French pianism – focused on three composers who played a part in the evolution of keyboard music in France between the 18th and early 20th centuries. The vinyl and limited-edition deluxe versions of Waves featured bonus tracks by a  fourth: Erik Satie. Liu’s readings of his Gnossiennes are now being made digitally available for the first time. Waves: Music by Satie presents two performances of all six works – the original grand piano versions and newly recorded upright piano interpretations – and is set for release on 28 June 2024. Gnossienne No. 1, Lent (upright version) will be issued as a taster track on 7 June and a video for No. 4, Lent (grand piano version) will come out on the same day as the album.
 

Various:

Wagner - Parsifal, Bayreuther Festspielhaus,Casado

Deutsche Grammophon is delighted to announce the latest fruit of its global media partnership with the Bayreuth Festival: Jay Scheib’s acclaimed and groundbreaking new production of Parsifal. His staging, which incorporated AR (augmented reality) visuals, was premiered at the Festspielhaus on 25 July 2023 and received its international online premiere on DG’s STAGE+ platform a day later. Making her Bayreuth debut, DG artist Elina Garanca starred as Kundry opposite Andreas Schager in the title role. The production was conducted by Pablo Heras-Casado, enjoying his own “triumphant debut” (BR-KLASSIK) at the Festspielhaus.

For the first time since becoming the Festival’s exclusive audiovisual partner in 2015, DG will present both audio and video recordings of the opera. The latter (2 Blu-rays) offers three sound formats, including Dolby Atmos, and comes with a booklet with full details about the work and production. Even without the AR elements that were available to some members of the Bayreuth audience, the filmed version offers viewers a breathtaking audiovisual experience. The audio recording, which includes a second booklet containing the full German libretto and an English translation, will be available digitally and as a 4-CD set. Both versions will be released on 28 June 2024, while the Prelude to Act Three and Kundry’s aria “Ich sah das Kind an seiner Mutter Brust” will be issued as digital taster tracks on 31 May and 14 June respectively.

Chad Lawson:

'Sanctuary' from 'Where We Are'

World-renowned pianist, podcaster, and certified breathwork educator Chad Lawson has announced Where We Are, a new album of original solo piano works inspired by messages from his fans about how his music has affected their lives. Lawson is known for exploring the intersection between music and wellness with chart-topping contemporary classical releases and his iHeart Radio Award-nominated podcast Calm It Down, which explores mental health topics and meditation techniques soundtracked by Chad’s music. Lawson’s music has struck a chord with listeners worldwide, with plays of his recordings totaling a billion streams. His last two albums breathe and You Finally Knew have received over 700MM streams, unprecedented in the classical genre.

A certified breathwork expert, Lawson has shared the lead single, “Sanctuary,” along with an accompanying music video to mark World Breathing Day, April 11th, a global celebration of the practice of conscious breathing. On the track he plays a delicate piano melody in an almost-cyclical repetition. “It sets the theme of what the album is,” he notes. “‘Sanctuary’ is the place where you personally find healing. People want to be gentle with themselves and feel okay, but they don’t know how.”

Coinciding with the announcement and release of “Sanctuary,” Chad is partnering with the International Breathwork Foundation for a Zoom workshop titled “Healing through Music and Breathwork.” Chad’s live piano playing will be interwoven with a conscious connected breath session led by Lauren Chelec Cafritz. The session will happen on April 11 at 4pm ET/1pm PT/9pm CET. Tickets are free here: https://ibfbreathwork.org/world-breathing-day-april-11/

“My role is to impact the heart rather than impress the mind,” he notes. “That’s how I see my music. Right now, it seems like everyone is very tired. So, I’m trying to meet people Where They Are—which is where the name of the album came from. I’m going to be in the thick of it with them. I’m putting my hands out and saying, ‘I’ll hold you through this’.”

Jon De Lucia:

The Brubeck Octet Project

Ever curious about the underexplored corners of jazz history, alto saxophonist Jon De Lucia breathes new life into one important such chapter with The Brubeck Octet Project, dropping July 12 on his own Musæum Clausum Recordings imprint. The album documents De Lucia and his octet’s rediscovery and reconditioning of the arrangements played by the Dave Brubeck Octet, the innovative 1946-1950 unit with which the iconic West Coast pianist began his career.

De Lucia’s octet predates The Brubeck Octet Project. He formed the band in 2016 for another project at City College of New York (where he then taught), but it quickly became a weekly reading band, leaving the saxophonist constantly in search for new (old) repertoire. It was this quest that led him to the archives at Mills College (Brubeck’s alma mater), where he found many of the Brubeck Octet’s original handwritten charts in the papers of the band’s tenor sax and arranger, Dave Van Kriedt.

Benedetti / Grosvenor / S. Kanneh-Mason:

Beethoven - Triple Concerto

Three of the world’s greatest classical stars join forces to record Beethoven’s Triple Concerto - Nicola Benedetti, Benjamin Grosvenor, Sheku Kanneh-Mason

All alumni of the BBC Young Musician competition, they are great friends, but this is the first time they have appeared on record together. They have a joint reach of our 1 million and are all touring regularly internationally

The first recording of the work on Decca Classics, Nicky, Sheku and Benjamin toured the concerto around the UK in 2023, after which they recorded it with the Philharmonia and their Principal Conductor Santtu-Matias Rouvali

The works are accompanied by a selection of Beethoven’s rarely performed Folk Songs, along with celebrated baritone Gerald Finley

Reflecting the Scottish, Welsh, Irish and English roots of the musicians

The album concludes with the trio alone: Kreisler’s arrangement of ‘Londonderry Air’, often known as ‘Danny Boy’.

"We had three soloists working in harmony without losing any of their distinct personalities. Cellist Sheku Kanneh-Mason was the lyrical dreamer, violinist Nicola Benedetti was the lively energiser and pianist Benjamin Grosvenor acted as a quicksilver mediator between the two. Their approach was virtuosic, sympathetic and full of character." - The Times

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