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Cellist Camille Thomas’ program of beautiful cello arrangements invites us to find hope amid uncertainty, to see light in the darkness. From Purcell’s grief-stricken “When I Am Laid in Earth” to Bruch’s yearning “Kol Nidrei” and Dvořák’s nostalgic “Songs My Mother Taught Me,” Thomas finds beauty deep within pain. But in Donizetti, she celebrates the power of love, in Wagner gentleness, and in Mozart steadfastness. Fazil Say’s 2017 Concerto for Cello and Orchestra, “Never Give Up”, a musical response to the terrorist attacks in Paris and Istanbul, is searing and often upsetting, cello flowing like tears, orchestra twisted, demented. Birds bring peace, at last, to a modern masterpiece that confronts anguish and distress with strength and optimism.

The soprano voice occupies a central place in Robert Groslot’s vocal music, and in The Intimacy of Distance he has created his most ambitious composition yet for voice and orchestra. Exploring how elements of life can only be realized through the experience of distance, this concerto for soprano and orchestra moves through various contrasts to huge transformative effect. The calm sounds of nature alternate with melodic lines and dissonant chords in My Green Shade Forest, while Trittico incantevole is a radiant piece composed in honor of the painter Peter Paul Rubens. Composer Robert Groslot is 70 this year; an appropriate anniversary disc with three more premiere recordings. He is one of Belgium’s leading living composers – his catalogue consists of large orchestral works, 50 concertos, three multimedia works and many solo and chamber music works.

The world premiere recording of compositions by Dirk Brosse, recorded with the Brussels Philharmonic. A Pulse of Joy is the second album (the first one "A Symphonic Journey from Philly to Utopia", was released last year) contains world premiere recordings of some of the works Dirk Brosse has written over the past 10 years. Dirk Brosse, an internationally acclaimed conductor and composer, is currently Music Director of The Chamber Orchestra of Philadelphia. He is also professor of composition and conducting at the Royal Conservatory of Music at his hometown Ghent, Belgium.

After her triumph with the album Offenbach Colorature (ALPHA437), Jodie Devos has chosen to follow in the footsteps of one of her compatriots, the Belgian coloratura soprano Marie Cabel (1827 -1885), who at the age of twenty-six scored a phenomenal success in Adolphe Adam’s opéra-comique Le Bijou perdu , which she premiered in Paris. She then took on a more dramatic role in Halévy’s Jaguarita l’Indienne , whose great Invocation with chorus (‘À moi ma cohorte!’) again hit the bullseye in a run of 124 performances over just a few months. Cabel enjoyed one hit after another, in Auber’s Manon Lescaut and La Part du diable , Meyerbeer’s L’Étoile du Nord and Le Pardon de Ploërmel , Victor Massé’s Galathée , and Le Songe d’une nuit d’été by Ambroise Thomas, who in 1866 gave her the biggest role of her career: Philine in Mignon , based on Goethe. In partnership with the musicologists of the Palazzetto Bru Zane, who have resurrected and edited all these unjustly forgotten rarities, and Pierre Bleuse conducting the Brussels Philharmonic and the Flemish Radio Choir, Jodie Devos pays tribute to this star of the nineteenth century, whose audacity and sense of mischief she undoubtedly shares!

Joncières epitomises the Romantic artist fascinated by nobility and grandeur. This is clear from the titles of his works alone: Sardanapale, Lancelot, Le Dernier Jour de Pompéi, Le Chevalier Jean, Dimitri. Listening to the latter, his masterpiece (1876), we realise too that he was a contemporary of Gounod and a champion of Wagner. Dimitri carries on the tradition (begun by Meyerbeer) of spectacular, monumental works. It takes the listener from a monastery near the River Don to a palace in Krakow, then to the castle of Wyksa and finally the Kremlin in Moscow. At the time it was written, Bayreuth, Orange and Béziers were about to turn opera into a popular art with mass appeal.

The next step in the evolution of the bass guitar! The idea of a concerto for bass guitar is something that I have been dreaming of for decades. Since its invention, the bass guitar has firmly established itself as an essential and integral part of practically every genre of music. The bass guitar, as we now know it, was invented and produced by Leo Fender starting in 1951. The more portable bass guitar, in comparison to the large and unwieldy double bass, was capable of playing at higher volumes via amplification and satisfied the new sonic demands created by the widespread use of electrification in popular music. By increasing the overall scale of the electric guitar and only using the lowest four strings (E, A, D, G), Fender gave birth to a new instrument. Traditional double bassists could quickly adapt, with the added benefit of more accurate intonation due to the frets. Hence the original name: The Precision Bass. At the same time, guitarists could also become bass players when called upon. As a result, many of the early bass guitarists began their musical life as guitar players, with the most well-known example being Paul McCartney of The Beatles.

As Anneleen Lenaerts proves, Nino Rota brought the same gifts to his music for harp as he did to such unforgettable film scores as The Godfather, La dolce vita and Romeo and Juliet. “What could be better than to sweep an audience away and give them a moment of pure joy?” she asks. “For me, that is Nino Rota’s most important musical message.