Hazeltine is one of the most sought after pianists today. He has worked with some of the world's most respected jazz legends including James Moody, Eddie Harris, Jon Faddis, Joe Henderson, Pepper Adams, Jon Hendricks, and Marlena Shaw. David is known for taking a familiar or unexpected song and making it new, making it his own. He effortlessly transfers this skill from song to stage. Whether he’s composing or interpreting, accompanying or leading, you are certain to end the set remembering the sounds of David Hazeltine.

Clarinetist Ona Cardona and pianist Josep Colom join forces on this recording, performing Brahms’ late masterpieces, the clarinet sonatas op. 120. Superb performances of both sonatas that framed Robert Schumann’s Fantasiestücke, op. 73 and a wonderful arrangement for clarinet and piano of Clara Schumann’s largely neglected Romanzen, op. 22.

In 1799, Haydn undertook the composition of a six quartet series dedicated to the Prince Lobkowitz. The two quartets Op.77 Nos.1 and 2 were the first outcome of this project. Kept busy by the composition of his Seasons and the Harmoniemesse, Haydn couldn't complete the entire series before his passing, but he left two fragments of a third quartet, which make up the Op.103. These three last quartets, bold and full of wit, are the final goodbye of an old master.

France's contribution to the genre of the Baroque solo concerto seems late and tentative, but it is fascinating to see how French composers celebrated the arrival of the violin and combined Italian robustness and French elegance in their works. Johannes Pramsohler and Ensemble Diderot take a journey to the origins of this hybrid form, presenting here the very first violin concertos by French composers, with two world-premiere recordings of concertos by Jean-Marie Leclair and Andre-Joseph Exaudet at the heart of this virtuosic and exciting programme.

This is the third recording to represent Giulio Prandi’s interpretative research on the great Italian choral repertory, after the special and successful releases of works by Jommelli and Pergolesi, cornerstones of the golden age of the Neapolitan school. Faced with the challenge posed by Rossini’s essential masterpiece, Prandi has chosen an original and courageous path, following deep reflection.

This album celebrates a musical rapport that has lasted for twenty years and, above all, a true friendship: ‘We’re like two sisters, on stage and in life’, as Patricia Kopatchinskaja and Sol Gabetta like to say.

The debut album of this chamber music ensemble. It was recorded with fine vintage equipment live to two track analog tape at the amazing Sendesaal Bremen.