On 29 March 2019 Arnold Kasar releases his new album "Resonanz" at Neue Meister. An album from the observation to the deconstructed melody, to the dark drone and then back to contemplation.

In a world sometimes tired of contemplating its own treasures, a plethora of discography with immediate and commonplace access can make the release of a new recording dedicated to some of Beethoven's 32 sonatas surprising. More particularly, the choice made by an artist such as Philippe Entremont, after 70 years of a phenomenal career, to focus on one of the Viennese Master's most recorded parts, reflects the complexity and intensity governing the relationship between the performer and the work, the relationship between his instrument and the orchestral aspects of the writing.

Secular cantatas of love and tragedy by a Neapolitan precursor of Pergolesi, in world premiere recordings.

2015's collection of Roxy Music, released in Japan as SHM-SACDs. Features DSD flat transfer from the U.K. original analogue master tapes. Includes all of the band's studio albums: Roxy Music (1972), For Your Pleasure (1973), Stranded (1973), Country Life (1974), Siren (1975), Manifesto (1979), Flesh and Blood (1980), Avalon (1982).

From the onset, the music in Das Lied von der Erde is permeated by a special mood. Even the texts, based on Far Eastern poetry, are more mood than content. Mahler repeatedly abandons the words’ meaning, but the mood remains. The music implies so much more than the words! For instance, the third poem evokes the reflection of a mirror image in water, but I don’t see those images anywhere in the music. Mahler is not concerned with helping us understand every syllable. If the voice, in its anguish, is drowned out by the orchestra, that is what the music is trying to achieve.

"How did you design the program for this disk?The disk is made up most importantly of pieces that I particularly enjoyed performing in concert. But rather than making two recordings, one for Robert and the other dedicated to Clara, I imagined making both composers converse within the same universe. We are of course familiar with the hidden messages they constantly sent each other through their music and it seemed interesting to me to recreate an imaginary conversation between these two immense musicians. "

The Jubilee Quartet, formed in 2006 and named so as all the members lived along the route London’s Jubilee underground line, have studied with such illustrious figures from the world of chamber music as Gunter Pichler, Thomas Brandis, Garfield Jackson and the Belcea String Quartet. They have participated in masterclasses with the Skampa, Wihan and Chilingirian Quartets. They have an impressive tally of prizes from international chamber music competitions and have a busy international schedule. Their debut album features three Haydn quartets which, as ever with this composer are brim-full of innovation, drama and wide-ranging emotions.

French Baroque chamber music by a much-admired contemporary of Marin Marais.

In 1680, Dietrich Buxtehude sent his friend Gustav Düben the score of Membra Jesu nostri. In this perfectly balanced work, he addresses the senses directly, immersing us in the sufferings of Christ: we feel the hammer blows, the heart that stops beating…

Over and above the research on the role of the viola da gamba in the English vocal repertoire, our programme also seeks to provide an experience of total immersion in the chamber music of this era, which can induce meditation and contemplation as potently as it can arouse humour and joy. Through the work of four major British composers, it presents pieces that we have too few opportunities to hear, as well as other more famous works which are the glory of the Elizabethan repertoire. Come Sorrow is the melancholy title of our programme, but also and especially that of one of the most beautiful vocal pieces written by Robert Jones.

Following on from his acclaimed recording of Jean-Philippe Rameau's complete solo keyboard works (RES10214), harpsichordist Steven Devine returns to Resonus to record one of the great pinnacles of the Baroque keyboard repertoire, Johann Sebastian Bach's Das wohltemperierte Klavier.

The very first complete recording of Viktor Kalabis's piano works, as well as the album of his three sonatas (SU 4210-2, Supraphon 2018) have come to fruition upon the initiative and owing to the relentless enthusiasm of the world-renowned harpsichordist Zuzana Růžičková, the composer's wife and a keen promoter of his oeuvre. Of major importance was the selection of the pianist - one possessing superlative technical skills and having a profound understanding of the structure of Kalabis's music. As Ivo Kahánek put it: "Kalabis was one of the composers who don't restrict their ideas by the traditional laws of the piano technique, hence his music is now and then extremely difficult to perform."

Whenever Sonny Boy Williamson began to play, any generational or cultural barriers that might have existed quickly crumbled. His harmonica spoke a language of our time, tortured, wailing, crying – and strangely beautiful; its effect was powerfully human and its appeal penetrated national, racial, and economic frontiers.

Emboldened by a sold-out tour and a surge of interest in the States after the release of the documentary Revenge of The Mekons, Mekons retreated to the fringes of Joshua Tree National Park and popular culture to record their new album Deserted.

Fresh off the back of her critically-acclaimed album 'My Name Is Safe In Your Mouth' Liela Moss follows it up with a beautiful collection of rain-themed cover versions.