Arranco de Varsóvia Rosalina

On Remembering, the Danish cellist Jakob Kullberg continues his collaborations with two of the foremost Nordic composers: Per Nørgård and Kaija Saariaho. Praised internationally for his performances of the modern cello concerto, Kullberg regards the concerto form as the encounter of an individual soloist with the sound world of a composer. With living composers this approach often results in an unusual degree of collaboration, as the works gathered here bear witness to. Since 1999, Kullberg has enjoyed a close and unique partnership with Nørgård which has resulted in a large number of works.

Many notable Mozart conductors have become broader in their tempos and more detail-obsessed as they aged. Walter, Beecham, Böhm, Klemperer, and even Sir Colin Davis have all fallen under the spell of the music's perfection to the point where they could hardly bear to let it alone. On the other side of the equation are equally great conductors such as Szell, Reiner, Casals, and Toscanini, whose vision intensified instead of mellowing. It is to the latter group that Menuhin belongs, and these superb performances call to mind Toscanini at his best, in the tensile strength of the melodic line, subtle rubato, and miraculously clear articulation.

New Seasons is a project undertaken by oboist Albrecht Mayer to create "new" concertos for oboe, based primarily on the operas and oratorios of George Frideric Handel. He and arranger Andreas N. Tarkmann used arias, sometimes including bits of recitative, and gave the vocal lines to the oboe, flute, and bassoon without changing too much of the accompanimental parts to create a cycle of four concertos. Compared to Handel's original instrumental music, these are naturally more lyrical and sometimes more declamatory, but it is surprising how often the music is very dance-like. Lively, moving rhythms are not what is normally expected in vocal music, but it makes the arias used here very natural sounding as concerto movements.

Handwritten ballet manuscripts found in the most unexpected way. Two world premiere recordings. A mysterious composer. And last but not least, electrifying Sinfonia Varsovia Orchestra with a young, award winning director – Sebastian Perłowski. These releases definitely will not be forgotten!

Handwritten ballet manuscripts found in the most unexpected way. Two world premiere recordings. A mysterious composer. And last but not least, electrifying Sinfonia Varsovia Orchestra with a young, award winning director – Sebastian Perłowski. These releases definitely will not be forgotten!

Had it been released at the time the repertoire was created, this record would have been forbidden. This new Sinfonia Varsovia album is the third and last volume of the series 39’45, presenting works created in times of war, occupation, and – on this album – also Stalinism, ZSRR and PRL. Incredible soloists were chosen for this project: Marcel Markowski (cello), Maciej Grzybowski (piano), and outstanding conductors Jerzy Maksymiuk and Jacek Kaspszyk. Their interpretation is deeply moving, and the awareness of the historical context of Weinberg, Panufnik and Andrzej Czajkowski’s music presented is clearly perceptible throughout.

This group of Haydn piano concertos is really nothing of the sort; with the possible exception of the Concerto in G major, Hob. 17/4, these pieces were written for harpsichord and orchestra. That's not to say they don't make sense played on a piano. The instrument slowly made its way across Europe, and a work might draw on styles that arose in a keyboard environment shaped by the new fortepiano.

Liya Petrova burst onto the international scene in 2016 when she took First Prize at the Carl Nielsen Competition in Denmark, chaired by Nikolaj Szeps- Znaider.