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Das Bayerische Staatsorchester sieht seine Wurzeln im Jahr 1523 mit der Anstellung des Sänger-Komponisten Ludwig Senfl, der von Herzog Wilhelm IV. aus der 1520 von Karl V. aufgelösten Hofkapelle Kaiser Maximilians I. zusammen mit anderen Musikern übernommen wurde.

The internationally renowned pianist Yulianna Avdeeva presents Shostakovich's 24 Preludes and Fugues Op. 87, one of the most important works in the piano repertoire. This monumental cycle harks back to Bach's Well-Tempered Clavier and is considered one of the most demanding works for piano ever written. Avdeeva joins an elite group of pianists who have undertaken the challenge of performing the complete opus, which is rarely heard in its entirety. To complement this iconic work, Avdeeva also presents the completion of an alternative Prelude and Fugue in C-Sharp Minor, discovered by leading Shostakovich expert Olga Digonskaya and completed by composer and Shostakovich biographer Krzysztof Meyer.

GRAMMY® Award-winning American soprano Susan Narucki is one of today's most committed advocates of the music of our time.

The Musical and Artistic Director, Maestro Giovanni Rota, at the helm of the Ensemble "Hortensia Virtuosa," he initially transcribed an original score of 1696 the Bolognese composer Bartolomeo Bernardi and then later edited the complete performance of the score that includes ten sonatas.

The very first-ever set of ‘piano sonatas’ in a new and highly imaginative recording.Following Andrea Coen’s 2010 recording (94021) Brilliant Classics is the only label with two complete versions of Giustini’s sonatas on the market, showing its commitment to significant but under-recorded turning points in musical history. Lodovico Giustini (1685-1743) seldom left his native Pistoia, where he worked as organist of the Congregazione dello Spirito Santo. Published in nearby Florence in 1732, this set of 12 elegant sonatas is, in keeping with Scarlattian practice, dominated by movements in binary form, featuring dances and contrapuntal excursions, and displaying hints of the emerging galant style, which replaced busy Baroque continuo textures with a singing, more natural approach. Giustini enjoys high contrasts, soft and loud, and teases out of the new fortepiano technology everything it had to offer.However, the extant scores are not free of errors, and they leave a good deal up to the performer. Paolo Zentilin makes the most of Giustini’s writing.

It was as Ponchielli’s long-suffering ballad singer, La Gioconda, that Callas made her Italian debut, in 1947 at the Arena di Verona, and it proved crucial to her career. Five years later, La Gioconda became her first studio recording of a complete opera. It showcases both the dark-hued splendour of her voice at this period – she was still in her twenties – and her inimitable intensity and insight.

Ivan Ronda studied under Maestro Luigi Toja at the Giuseppe Nicolini Conservatory in Piacenza, graduating with the highest distinction in piano, organ, harpsichord, choral and orchestral conducting; he also received an honorary diploma of merit on completion of his eighth year of advanced study and went on to attend masterclasses in piano and organ, notably with the great French virtuoso Jean Guillou.

Ivan Ronda studied under Maestro Luigi Toja at the Giuseppe Nicolini Conservatory in Piacenza, graduating with the highest distinction in piano, organ, harpsichord, choral and orchestral conducting; he also received an honorary diploma of merit on completion of his eighth year of advanced study and went on to attend masterclasses in piano and organ, notably with the great French virtuoso Jean Guillou. Central to his repertory are the great works of J S Bach, Mozart, Reger and Liszt.

It was as Ponchielli’s long-suffering ballad singer, La Gioconda, that Callas made her Italian debut, in 1947 at the Arena di Verona, and it proved crucial to her career.

Rozhdestvensky was the son of conductor Nikolai Anosov Rozhdestvensky and soprano Natalya Rozhdestvenskaya. A pupil at the Gnesin School of Music and the Moscow Conservatory school for children, he entered the Conservatory in 1941 to study conducting with his father and piano with Lev Oborin. While still at the Conservatory, Rozhdestvensky conducted Tchaikovsky's Nutcracker at the Bolshoi Theater. Following his graduation in 1954, he was appointed assistant conductor at the Bolshoi and in 1956 made his first visit to England with the Bolshoi Ballet. In 1961, Rozhdestvensky was named artistic director of the Soviet Radio Symphony Orchestra, remaining there until 1974. Three years later, he became Bolshoi's youngest principal conductor, remaining at that post until 1970.