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The lyrical element is the essence of Prokofiev's nature, whether it be that of the man or of his music and it is deliberately that he chooses to turn it to derision, to make it grotesque, to disfigure it. Through all the distortions, dilations, sudden stops and about-faces that the composer subjects them to, his themes and harmonies remain essentially lyrical.

The Rascher Saxophone Quartet here present a disc of works specifically composed for them. They are joined by the Stuttgart Chamber Orchestra, conducted by Robin Engelen in the orchestra's first appearance on BIS. With Bach’s Brandenburg Concertos in mind, Sally Beamish uses features of Baroque music but also elements from traditional Scottish music.

Anton Rubinstein was the equal of Liszt as a pianist and a technically gifted composer but, in his own words, he was perceived by his contemporaries as too German to be Russian and too Russian to be German, and his music was frequently disparaged. Although occasionally derivative, the first two sonatas are impressively bravura and passionate works which pianist Han Chen approaches as if reading a 19th-century Russian novel, digging down to the very essence of the human soul. It is perhaps an irony of the history of taste that Rubinstein’s very real achievements are beginning to be valued only some 125 years after his death.

In his music, Xiaoyong Chen likes to strike a constant balancing act between his origins in Beijing and Hamburg, which he has made his home, where he studied with György Ligeti, and where he has been teaching composition and intercultural mediation since 2013. His compositions are, in a manner of speaking, “west- eastern travelling parties”: To the classical inventory of European instruments, he introduces the sounds of Chinese instruments that have several thousands of years of history to them. Among those are the sheng, a mouth organ, the guzheng, a plucked zither, the pipá, the four-stringed “Chinese lute”, and the yangqin (similar to a Western dulcimer). Chen brings the occasionally resulting sharp cultural dif- ferences, the seemingly incongruent musical material, and his understanding of music all together in a melting pot. From all of this, he creates fascinating and ever-new, original, serious concoctions. As part of this process, Chen asks: “Will the art of the future be based on tradition?”, only to add, matter-of-factly: “If so, why?”

On Friday, March 10, 2023, American violinist Stella Chen releases her debut album, Stella x Schubert, with pianist Henry Kramer on the Apple-owned Platoon platform. Performing on the 1700 ex-Petri Stradivarius violin, Chen garnered worldwide attention with her first-prize win at the 2019 Queen Elizabeth International Violin Competition, followed by the 2020 Avery Fisher Career Grant and 2020 Lincoln Center Emerging Artist Award.