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The Russian composer Nikolai Kapustin (1937-2020), who died at the beginning of the pandemic-related cultural hiatus which has been unique with regard to world history, was able to experience considerable appreciation in his last two decades, which recently gained more and more momentum. Coming from the best Soviet aristocracy of piano teaching - Kapustin was a pupil of a pupil of Horowitz's teacher Blumenfeld and then studied with the great Alexander Goldenweiser until 1961 - he was denied great recognition in the Soviet Union. As with many great piano composers since Chopin, the cycle of concert etudes from the middle of his life is particularly suitable for an introduction to this world of works. Kapustin's typical reference to jazz, which probably kept him from greater success in the Soviet years, is based on the highly individual, deliberate adaptation of stylistic elements. He got to know jazz greats such as Ellington, Basie, Cole, Garner, Peterson and others through records and the radio and picked out what suited him. The extremely sensitive, not monotonously hammering as is so often the case, approach of the Chinese pianist A Bu, who is also trained in jazz, is pleasing with regard to interpretation, and he demonstrates his affinity for Kapustin's music through two samples of his own work.

Like the Occitan troubadours and the trouvères of northern France, the Minnesänger celebrated courtly love and gave medieval German its letters of nobility. These "singers of love" — Minne is the old German word for love — thus perpetuated a poetic and musical tradition that had begun nearly two centuries earlier in Occitania. The Minnesänger, generally of noble and knightly blood, gradually emancipated themselves from their French models and developed their own styles and forms during the 13th century.

For her debut album, Swiss soprano Stephanie Bühlmann went in search of clues: based on personal encounters with works by her compatriots, she discovered musical treasures off the beaten track of the standard vocal repertoire. This is how the idea of an album of unknown songs by Swiss composers was born, most of which were recorded for the first time for the album 'Zauberluft'. Magic, air, love, nature, soul, peace and home are the themes of the songs, set to music in enchanting, airy, touching, stirring and comforting melodies in the late romantic tradition. The life dates of the five composers Richard Flury, Urs Joseph Flury, Paul Miche, Peter Mieg and Daniel Behle, who set texts in German and French, go from 1896 to the present day. Stephanie Bühlmann studied at the conservatories of Zurich and Lucerne. She deepened her studies in 'Lied singing' in the Liedduo class with Hartmut Höll and in collaboration with Daniel Behle. As a sought-after soloist, she can be heard regularly in opera and concert. Together with her lied partner Benjamin Engeli she presents with 'Zauberluft' a series of fascinating first recordings.