Erik Honoré – Unrest (2017)
FLAC (tracks) 24 bit/44,1 kHz | Time – 35:29 minutes | 311 MB | Genre: Jazz
Studio Masters, Official Digital Download | Front Cover | © Hubro

Unrest is a new collection of masterly collages from the hand of Erik Honoré in which he captures, with absolute precision, the moods and tonal imagery of improvisations and weaves them together in a personal and evocative musical process. He has been joined by an impressive array of Norwegian improvisational musicians: Sidsel Endresen, Eivind Aarset, Arve Henriksen, Stian Westerhus and many others.“The album was made during a period of unrest – both the external, social unrest that we have all felt in recent years and more personal experiences of agitation, conflict, turbulence,” says Honoré. “It became increasingly clear to me that these perceptions influenced the aesthetic choices I made during the process. I have probably chosen sharper edges in these compositions and collages, subconsciously or intuitively in the first, improvisational stage – and later extremely consciously in the production and editing processes. ‘Unrest’ was a working title early on, but in the final analysis it was the only title that fit.”

When musician, record producer and writer Erik Honoré (born 1966) released his debut album Heliographs in 2014, he had already been involved as a musician and producer on over 50 records with artists as diverse as Arve Henriksen, David Sylvian, Eivind Aarset and Brian Eno/Peter Schwalm.

The music on that album surrounded the listener; it was ambient-influenced music with an unusually broad emotional range and substance. Many people regarded Heliographs as an important album, and it received glowing reviews. HiFi World described the music as “electro-centric ambient, ethereal jazz”. All About Jazz wrote that the music “eschews convention and utilizes sound as a driver that challenges the mind to keep up, even as it digs deeply at the heart and soul”, and London Jazz described the album as “a shining example of the range of musical possibilities open to us through the creative communion of improvisation”. A new album from Honoré has been eagerly awaited.

Erik Honoré is probably best known for his close collaboration with Jan Bang. In 2005 they established the unique Punkt Festival in Kristiansand, where concerts that have just taken place are remixed live. The idea is to improvise with sampling. The festival has previously hosted artists such as Brian Eno, John Paul Jones, Laurie Anderson and David Sylvian, and this year’s festival guest is Daniel Lanois. In recent years Punkt Festival spin-offs have taken place in over 30 cities throughout Europe and Asia.

The Punkt philosophy, combining improvisation with sampling technology, has also been a decisive element of Honoré’s solo project. Unrest has drawn on instrumental and vocal samples from Punkt arrangements in Kristiansand, Molde and Prague, which were later condensed and reworked in Honoré’s home sound studio at Kampen, Oslo.

“The process was very similar: improvisation around live samples of vocalists and instrumentalists, followed by extensive editing and collage work,” says Honoré. “A quick, intuitive phase, and then a protracted, detail-oriented process. But in my ears the expression is rougher and more confrontational. I hear the album as more direct, and definitely darker. Heliograph’s ‘Dark-Eyed Sister’.”

Honoré composes instrumental music, but this time, too, the contribution of the unique vocalist and improviser Sidsel Endresen has played a crucial role. Honoré himself appears with a more conventional vocal contribution on the final track, “The Park”, which puts the finishing touch on a new, intense, emotionally evocative and intriguing album from Erik Honoré.

Tracklist:

1-1. Erik Honoré – Surge (04:17)
1-2. Erik Honoré – Abandoned Home (05:24)
1-3. Erik Honoré – Unrest (05:01)
1-4. Erik Honoré – Remain (01:21)
1-5. Erik Honoré – Blinded Windows (02:59)
1-6. Erik Honoré – Apparition (04:32)
1-7. Erik Honoré – Procession (07:46)
1-8. Erik Honoré – The Park (04:07)

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Jennifer Castle – Camelot (2024)
FLAC (tracks) 24 bit/96 kHz | Time – 38:02 minutes | 761 MB | Genre: Folk
Studio Masters, Official Digital Download | Front Cover | © Paradise of Bachelors

Camelot, Jennifer Castle’s extraordinary, moving chronicle of the artist in early middle age, charts a realer place than the legendary Camelot of the British Early Middle Ages, but it too is a space more psychic than physical. In Castle’s Camelot, the fantastic interpenetrates the mundane, and the Grail, if there is one, distills everyday experience into art and art into faith, subliming terrestrial concerns into sublime celestial prayers to Mother Nature, and to the unfolding process of perfecting imperfection in one’s own nature: “Back in Camelot / I really learned a lot / circles in the crops and / sky-high geometry …” Camelot, the legendary seat of King Arthur’s court in Early Middle Ages Britain, was probably not a real place. A corruption of the name of a real Romano-Briton city, the word “Camelot” accumulated symbolic, mythic resonances over centuries, until achieving its present usage as a near-synonym of “utopia.” In the mid-20th century alone, Camelot inspired an explosion of representations and appropriations, among them the violent, affectless Arthurian court of Robert Bresson’s 1974 film Lancelot du Lac and the absurdist iteration of Monty Python’s 1975 Holy Grail, both of which feature armored knights erupting into fountains of blood; the mystical Welsh world of novelist John Cowper Powys’s profoundly weird 1951 novel Porius, with its Roman cults, wizards and witches, and wanton giants; and the nationalist nostalgia of President John F. Kennedy’s White House. Unsurprisingly there are fewer Camelots in more recent memory.Camelot, Canadian songwriter Jennifer Castle’s extraordinary, moving 2024 chronicle of the artist in early middle age, charts a realer, more rooted, and more metaphorical place than the fabled Camelot of the Early Middle Ages (or its myriad depictions), but it too is a space more psychic than physical. In Castle’s Camelot, the fantastic interpenetrates the mundane, and the Grail, if there is one, distills everyday experience into art and art into faith, subliming terrestrial concerns into sublime celestial prayers to Mother Nature, and to the unfolding process of perfecting imperfection in one’s own nature. Co-produced by Jennifer and longtime collaborator Jeff McMurrich, her seventh record is at once her most monumental and unguarded to date, demonstrating a mastery of rendering her verse and melodies alike with crisply poignant economy. For all their pointedly plainspoken lyrical detail and exhilarating full-band musical flourishes, these songs sound inevitable, eternal as morning devotions.

“Back in Camelot,” she sings on the lilting, vulnerable title track, “I really learned a lot / circles in the crops and / sky-high geometry.” The album opens with a candid admission of sleeping “in the unfinished basement,” an embarrassing joke that comes true. But the dreamer is redeemed by dreaming, setting sail in her airborne bed above “sirens and desert deities.” If she questions her own agency—whether she is “wishing stones were standing” or just “pissing in the wind”—it does not diminish the ineffable existential jolt of such signs and wonders.

This abiding tension between belief and doubt, magic and pragmatism, self and other, sacred and profane, and even, arguably, paganism and monotheism, suffuses these ten songs, which limn an interior landscape shot through with sunstriped shadows of “multi-felt dimensions” both mystical and quotidian. The epic scale and transport of “Camelot,” with its swooning strings, gives way dramatically to “Some Friends,” an acoustic-guitar-and-vocals meditation in miniature on Janus-faced friends and the lunar and solar temperatures of their promises—“bright and beaming verses” versus hot curses—which recalls her minimalist last album, 2020’s achingly intimate Monarch Season. (In a symmetrical sequencing gesture, the penultimate track, the incantatory “Earthsong,” bookends the central six with a similarly spare solo performance and coiled chord progression, this time an ambiguous appeal to … a wounded lover? a wounded saint? our wounded planet?)

Those whom “Trust” accuses of treacherous oaths spit through “gilded and golden tooth”—cynics, critics, hypocrites, gurus, scientists, doctors, lovers, government, the so-called entertainment industry—sow uncertainty that can infect the artist, as in “Louis”: “What’s that dance / and can it be done? What’s that song / and can it be sung?” Answering affirmatively are “Lucky #8,” an irrepressible ode to dancing as a bulwark against the “tidal pools of pain” and the “theory of collapse,” and “Full Moon in Leo,” which finds the narrator dancing around the house with a broom, wearing nothing but her underwear and “big hair.” But the central question remains: who can we trust, and at what cost faith, in art or angels or otherwise?

Castle’s confidence in her collaborators is the cornerstone of Camelot. Carl Didur (piano and keys), Evan Cartwright (drums and percussion), and steadfast sideman Mike Smith (bass) comprise a rhythm section of exquisite delicacy and depth. This fundamental trio anchors the airiness of regular backing vocalists Victoria Cheong and Isla Craig and frames the guitars of Castle, McMurrich, and Paul Mortimer (and on “Lucky #8,” special guest Cass McCombs). Reprising his decennial role on Castle’s beloved 2014 Pink City, Owen Pallett arranged the strings for Estonia’s FAMES Skopje Studio Orchestra.

On the ravishing country-soul ballad “Blowing Kisses”—Pallett’s crowning achievement here, which can be heard in its entirety in the penultimate episode of the third season of FX’s The Bear—Jennifer contemplates time and presence, love and prayer—and how songwriting and poetry both manifest and limit all four dimensions: “No words to fumble with / I’m not a beggar to language any longer.” Such rare moments of speechlessness—“I’m so fucking honoured,” she bluntly proclaims—suggest a state “only a god could come up with.” (If Camelot affirms Castle as one of the great song-poets of her generation, she is not immune to the despairing linguistic beggary that plagues all writers.)

Camelot evinces a thoroughgoing faith not only in the natural world—including human bodies, which can, miraculously, dance and swim and bleed and embrace and birth—but also in our interpretations of and interventions in it: the “charts and diagrams” of “Lucky #8,” a daydreamt billboard on Fairfax Ave. in LA in “Full Moon in Leo,” the bloody invocations of the organ-stained “Mary Miracle,” and all manner of water worship, rivers in particular. (Notably, Jennifer has worked as a farmer and a doula.)

The album ends with “Fractal Canyon”’s repeated, exalted insistence that she’s “not alone here.” But where is here? The word “utopia” itself constitutes a pun, indicating in its ambiguous first syllable both the Greek “eutopia,” or “good-place”—the facet most remembered today—and “outopia,” or “no-place,” a negative, impossible geography of the mind. Utopia, like its metonym Camelot, is imaginary. Or as fellow Canadian songwriter Neil Young once sang, “Everyone knows this is nowhere.”
“Can you see how I’d be tempted,” Castle asks out of nowhere, held in the mystery, “to pretend I’m not alone and let the memory bend?

Tracklist:

1-01. Jennifer Castle – Camelot (03:51)
1-02. Jennifer Castle – Some Friends (02:42)
1-03. Jennifer Castle – Trust (02:42)
1-04. Jennifer Castle – Lucky #8 (04:28)
1-05. Jennifer Castle – Louis (04:25)
1-06. Jennifer Castle – Full Moon in Leo (04:04)
1-07. Jennifer Castle – Mary Miracle (03:34)
1-08. Jennifer Castle – Blowing Kisses (04:07)
1-09. Jennifer Castle – Earthsong (03:38)
1-10. Jennifer Castle – Fractal Canyon (04:25)

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Steve Roach – Crossing the Bridge – Live in Boulder (2024)
FLAC (tracks) 24 bit/96 kHz | Time – 01:58:08 minutes | 2,18 GB | Genre: Electronic, Ambient, Berlin School
Studio Masters, Official Digital Download | Front Cover | © Timeroom Editions

Recorded live At Boulder Theater – October 4, 2024 – Colorado. This concert is an opening of a portal. It was inspired by cosmic metal band Blood Incantation’s invitation to cross the bridge of genre limitations and unleash our sonic passions together on the same stage for the premiere of their stunning “Absolute Elsewhere” album; it was an opportunity to present my live music to a new audience. The set was built from the elements of my 2024 US tour that presents the full range of my music over 2 hours. Mystical deep ambient – atmospheric to multilayered sequencer woven trance merging to tribal and acoustic infused Dreamtime realms. In this setting I took this 2 hour trajectory I have been performing in large Cathedrals and Churches and compressed this into a 60 min hyperblending of constant shapeshifting.

The moment I walked out on stage, I could feel the energy unleashing on all levels. An emotional sense of crossing into a hyper present state of focus – the place I love so much about the live experience. As the set unfolded, the response of the audience became fuel for the moment. it’s all here on this live… more
credits

Tracklist:

1. Steve Roach – We Are Here (08:10)
2. Steve Roach – Spirals and Portals (18:01)
3. Steve Roach – The Fire Beyond (10:30)
4. Steve Roach – Prometheus Reborn (03:46)
5. Steve Roach – Songline Passage (06:06)
6. Steve Roach – Realm of the Inbetween (07:58)
7. Steve Roach – The Magnificent Beyond (04:30)
8. Steve Roach – Crossing the Bridge – Compete Concert (59:04)

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Katarzyna Pilipiuk, Ensemble Il Vento – Hertel: Oboe Concertos (2024)
FLAC (tracks) 24 bit/44,1 kHz | Time – 01:02:55 minutes | 656 MB | Genre: Classical
Studio Masters, Official Digital Download | Digital Booklet, Front Cover | © Brilliant Classics

Johann Wilhelm Hertel is one of the lesser-known composers of the late baroque and early classical era. Born in Eisenach in 1727, as a young man he travelled to the north of Germany with his father, who was a viola da gamba virtuoso engaged as a Kapellmeister at the court of Mecklenburg-Strelitz. Already as a young man Johann Wilhelm showed a remarkable talent for music. He excelled on the harpsichord and violin, but his father wanted him to additionally study law. However, a trip to Berlin and contact with Berlin court musicians Carl Philipp Emanuel Bach and Franz Benda pushed the young Johann Wilhelm to devote his life primarily to music. In particular he studied the harpsichord with Carl Philipp Emanuel Bach, the violin with Franz Benda and composition with Karl Heinrich Graun. He spent his life in the service of the Mecklenburg-Strelitz and-Schwerin courts, and he was also music director in Stralsund. It was during this time that he had many opportunities to meet authorities from both the musical and scientific worlds.His oboes concertos are exemplary compositions of these times. The autographs, which are preserved in the Library of the Royal Conservatoire of Brussels (Sig. No. B-Bc-5562 and B-Bc-5563), together contain 10 oboe concertos in various keys. Nine of them are collected (and numbered by librarians) in Sig. No. B-Bc-5562 ,and one is separately placed as B-Bc-5563. As there is no catalogue of Hertel’s works, the numbers given for the concertos are taken from the manuscript Sig. No. B-Bc-5562. Some of the pieces are dated 1749 (Concertos Nos. 3 and 9) and others 1756 (Concerto No.2). All the concertos were prepared for this recording by Katarzyna Pilipiuk, copying with a focus on accuracy; only minor mistakes were corrected so as to give the most faithful transmission of the composer’s ideas. The material is very clear, with all the pieces noted by the composer in score form. All of them have signs of stylistic inspiration from the works of Carl Philipp Emanuel Bach, in particular Concerto No.5, which is an excellent work in the Empfindsamer Stil.

Tracklist:

1. Katarzyna Pilipiuk & Ensemble Il Vento – Hertel: Oboe Concerto No. 5 in G Minor: I. Allegro (09:05)
2. Katarzyna Pilipiuk & Ensemble Il Vento – Hertel: Oboe Concerto No. 5 in G Minor: II. Molto Adagio (05:44)
3. Katarzyna Pilipiuk & Ensemble Il Vento – Hertel: Oboe Concerto No. 5 in G Minor: III. Allegro (06:32)
4. Katarzyna Pilipiuk & Ensemble Il Vento – Hertel: Oboe Concerto No. 6 in G Major: I. Allegretto (04:33)
5. Katarzyna Pilipiuk & Ensemble Il Vento – Hertel: Oboe Concerto No. 6 in G Major: II. Largo (03:57)
6. Katarzyna Pilipiuk & Ensemble Il Vento – Hertel: Oboe Concerto No. 6 in G Major: III. Allegro Assai (04:15)
7. Katarzyna Pilipiuk & Ensemble Il Vento – Hertel: Oboe Concerto No. 2 in E Minor: I. Allegretto (03:49)
8. Katarzyna Pilipiuk & Ensemble Il Vento – Hertel: Oboe Concerto No. 2 in E Minor: II. Largo (03:33)
9. Katarzyna Pilipiuk & Ensemble Il Vento – Hertel: Oboe Concerto No. 2 in E Minor: III. Allegro ma non Troppo (04:03)
10. Katarzyna Pilipiuk & Ensemble Il Vento – Hertel: Oboe Concerto No. 7 in G Minor: I. Allegro (06:59)
11. Katarzyna Pilipiuk & Ensemble Il Vento – Hertel: Oboe Concerto No. 7 in G Minor: II. Arioso con Affetto (04:43)
12. Katarzyna Pilipiuk & Ensemble Il Vento – Hertel: Oboe Concerto No. 7 in G Minor: III. Presto (05:38)

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Massimo Polidori – Bach: Cello Suites vol .1 (2024)
FLAC (tracks) 24 bit/44,1 kHz | Time – 01:16:21 minutes | 745 MB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Movimento Classical

Born in Turin, Massimo Polidori completed his first studies with Maestro R. Brancaleon in the Musical Academy of his city, obtaining a diploma as a violoncellist with full marks. Later, he went on to perfect his studies with A. Janigro, M. Brunello and D. Schafran. In 1996 he won first prize as a virtuoso at the Geneva Musical Academy under the guidance of Daniel Gronsgurin. Starting in 1995, he held the position of primary violoncello soloist for the following five years in the “Camerata Bern”, with which he toured the world in the company of musicians of great standing such as A. Shiff, H. Holliger, A. Chumachenco and T. Zethmair, while also recording for Decca, Berlin Classic and Philips. In February 2000, he was chosen by MaestroRiccardo Muti to take up the position of first violoncello in the Scala’s Theatre Orchestra. He has always been strongly committed to developing his repertoire of chamber music. He also teaches at the “Accademia di Perfezionamento” for the Scala’s orchestra professors.

Tracklist:

1-1. Massimo Polidori – Suite No. 1 in G Major, BWV 1007: I. Prélude (02:54)
1-2. Massimo Polidori – Suite No .1 in G Major, BWV 1007: II. Allemande (05:11)
1-3. Massimo Polidori – Suite No. 1 in G Major, BWV 1007: III. Courante (02:54)
1-4. Massimo Polidori – Suite No. 1 in G Major, BWV 1007: IV. Sarabande (03:37)
1-5. Massimo Polidori – Suite No. 1 in G Major, BWV 1007: V. Menuet I and II (03:31)
1-6. Massimo Polidori – Suite No. 1 in G Major, BWV 1007: VI. Gigue (01:54)
1-7. Massimo Polidori – Suite No. 4 in E-Flat Major, BWV 1011: I. Prélude (04:39)
1-8. Massimo Polidori – Suite No. 4 in E-Flat Major, BWV 1011: II. Allemande (05:21)
1-9. Massimo Polidori – Suite No. 4 in E-Flat Major: III. Courante (03:56)
1-10. Massimo Polidori – Suite No. 4 in E-Flat Major, BWV 1011: IV. Sarabande (05:31)
1-11. Massimo Polidori – Suite No. 4 in E-Flat Major, BWV 1011: V. Bourrée I and II (05:34)
1-12. Massimo Polidori – Suite No. 4 in E-Flat Major, BWV 1011: VI. Gigue (03:15)
1-13. Massimo Polidori – Suite No. 5 in C Minor, BWV 1011: I. Prélude (07:20)
1-14. Massimo Polidori – Suite No. 5 in C Minor, BWV 1011: II. Allemande (06:11)
1-15. Massimo Polidori – Suite No. 5 in C Minor, BWV 1011: III. Courante (02:27)
1-16. Massimo Polidori – Suite No. 5 in C Minor, BWV 1011: IV. Sarabande (03:40)
1-17. Massimo Polidori – Suite No. 5 in C Minor, BWV 1011: V. Gavotte I and II (05:47)
1-18. Massimo Polidori – Suite No. 5 in C Minor, BWV 1011: VI. Gigue (02:32)

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Gustav Lundgren Trio – Sofo Session (2025)
FLAC (tracks) 24 bit/48 kHz | Time – 28:01 minutes | 306 MB | Genre: Contemporary Jazz, Jazz
Studio Masters, Official Digital Download | Front Cover | © Lundgren Music AB

Jazztrio album with a mix of famous jazz stanards, pop covers, Bossa Nova tunes & originals featuring the great Gustav Lundgren Trio with Ola Bothzén on drums & Martin Höper on double bass. Gustav Lundgren (Sweden) is one of the most acclaimed jazz guitarists in Europe. He made his first tour abroad already at age 19. He performed in 27 different countries before turning 30. He has recorded & released more than 1100 songs and his music has been streamed more than 100 million times!Gustav Lundgren is one of Sweden’s most prominent jazz guitarists right now. He was born in Stockholm 1980, started to play guitar at age 12. He studied music in Stockholm, Bollnäs and Svalöv between 1996-2000. Gustav started to play at clubs around Stockholm at age 16 and made his first tour to Spain with his own trio at age 19. Between 2000-2012 Gustav toured Japan, USA, Indonesia, England, Brazil, France, Syria, Turkey, Scotland, Slovakia, Spain, Italy, Algeria, Latvia, Switzerland, Austria, Moldova, Ukraine, Transnistria, Germany, Sweden, Denmark, Norway & Finland with different jazz groups. He has recorded over 55 albums as a side man and 15 as a leader. Gustav Lundgren has been working with names like: Jimmy Rosenberg, Jorge Rossy, Lelo Nika, Dorado Schmitt, The Swedish House Mafia, Kleerup, September & Anne Sofie von Otter.

Tracklist:

1-01. Gustav Lundgren Trio – Giant Steps (02:36)
1-02. Gustav Lundgren Trio – The Times They Are A-Changin’ (02:37)
1-03. Gustav Lundgren Trio – O Amor Em Paz (03:21)
1-04. Gustav Lundgren Trio – Sunny (04:50)
1-05. Gustav Lundgren Trio – La Tranquilidad (03:31)
1-06. Gustav Lundgren Trio – Bossa For Miles (04:09)
1-07. Tea Lundgren – Monicas Vals (02:58)
1-08. Gustav Lundgren Trio – Sommar (03:55)

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Giulio Gentile – Subconscious (2025)
FLAC (tracks) 24 bit/48 kHz | Time – 45:17 minutes | 516 MB | Genre: Contemporary Jazz, Jazz
Studio Masters, Official Digital Download | Front Cover | © Auand Piano

Giulio Gentile was born in Sulmona (AQ) on 12/08/1994. He began studying piano under the guidance of M°Raffaele Pallozzi.
After graduating from high school, he takes the exams to enter the first academic year of Advanced Training in Jazz Piano at the Conservatorio “Luisa D’Annunzio” in Pescara with M° Luca Mannutza.
In the same conservatory he then studies with M°Massimo Colombo and M°Carlo Morena.
In March 2017 he graduated in Jazz Pianoforte (Triennium) with 110 with honors and special mention.
In 2019 he graduated in Jazz Pianoforte (Biennium) with 110 with honors and special mention.

Tracklist:

1-1. Giulio Gentile – Dreams’ Gate (06:36)
1-2. Giulio Gentile – In Her Eyes (07:31)
1-3. Giulio Gentile – Guardians of Awakening (05:56)
1-4. Giulio Gentile – Life Finds a Way (05:15)
1-5. Giulio Gentile – Ancestral Roots (05:36)
1-6. Giulio Gentile – Hopscotch (06:56)
1-7. Giulio Gentile – Subconscious (07:26)

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Various Artists – Moondog: Instrumental Music by Louis Hardin (1978/2025)
FLAC (tracks) 24 bit/96 kHz | Time – 01:14:55 minutes | 1,35 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Musical Concepts

In the beginning was tonality. Then came atonality which was revolutionary. Tonality continued in folk music and popular music, in spite of atonality, but in the case of serious composers, it was taboo to even think of writing tonal on pain of being ignored and unperformed.

I persisted in writing tonal music, and by opposing the atonal revolutionaries, I became a counter-revolutionary. I maintained the tonal tradition, unaware that the founder of atonality himself had repudiated the 12-tone System, which he had conceived. But that was not the end of atonality, for even though its founder gave it up, his pupils did not, and so, for the time being, at least, it survives.As it was in the beginning, is now, and ever shall be, Tonality!

I write much keyboard music which can be played on piano, harpsichord or even on the organ manuals. I did not start writing organ music until 1974 in Germany for my friend, the organist Paul Jordan. For the first time I began writing music for the pedals, resulting in my first LOGRUNDR Book. I combined two forms into one, the canon and the ground, giving the ground to the pedals and the canon to the manuals. I coined the word LOGRUNDR: Log meaning Law or Canon, Grundr means Ground.

I like to write chamber and choral music, especially for orchestra. But since it is not always easy to have orchestral works performed, the organ is the next best medium to give the composer vast tonal resources. In fact, I prefer the organ when it comes to writing contrapuntal music because of the sustaining power of the organ in long melodic passages. The orchestra is best in music which is harmonic and rhythmic. A Bach fugue, transcribed for the orchestra, à la Stokowski, is impressive, but not nearly so impressive as on the organ itself.

Organ versus Orchestra! A case in point, which brings to mind both “King of Instruments” and “Instrument of Kings”.

LOUIS HARDIN, born in 1916 in Marysville, Kansas, wrote his first song at the age of eleven. Only several years later, however, did he make the final decision to become a composer, inspired by the book “The First Violin.” After musical study with Maud Manniny, Bernard Schaefer, Anna May Sansom, and Daphne Ivans, at the lowa School for the Blind, Hardin moved in 1943 to New York, which he felt to be the musical center of America at that time.

Over the next thirty years Hardin remained in New York writing and playing his music. As a strong believer in tradition he chose to respect the ancient rules of counterpoint in his work, following them even more strictly than most composers of the past. He was attracted especially to the form of the canon: in the 1950’s and 60’s Hardin wrote 300 madrigals in the form of canons, and over a hundred canonically based keyboard works, including four books of The Art of the Canon for keyboard. As the canon is the strictest musical form, so the couplet is the strictest poetic form; and Hardin has authored over one thousand couplets and longer poems over the years, including the madrigal texts.

In New York, Louis Hardin, who lost his sight at age 17, met many of the greatest artists of the day, such as Artur Rodzinski, Arturo Toscanini, Dmitri Mitropolous, Leonard Bernstein, George Szell, Martha Graham, Charlie Parker, Benny Goodman and Duke Ellington. Hardin began using the name Moondog in 1947, and under that name produced several records of his music from the early 1950’s on.

During a concert tour of Germany in 1974, Hardin, who in recognition of his affinity for classical tradition had previously described himself as a “European in Exile”, decided to remain where he was. After a stay in Hamburg he settled near Recklinghausen where he lives today (“incognito”, according to ‘Le Monde’!). The present record contains a sampling of Hardin’s recent music.

The four works played on harpsichord are taken from collections put together in the early 70’s. The Canons in C major and C minor are from The Art of the Canon, Book 1, and the two modal works are from Troubador Harp Book 1. Though these works were not originally conceived for harpsichord, composer and performer agree that they are well suited to the instrument. The harpsichord used here was built in 1977 by Keith Hill.

The Chaconne in G was written in 1974. This piece is a Tonata in one movement.

The Romance is the second movement of a three movement Tonata in C for string quartet, completed in 1976. The Tonata is a form conceived by Hardin. He says “it is an outgrowth of the Sonata, though different enough from it to require a new name. Each Tonata is a law unto itself, though they all have much in common, all relying heaving on counterpoint, featuring the canon and the ground, relieved here and there by harmonic and rhythmic effects.” The development sections of the two quartet pieces are in canon form, double 2-part canons. In the Romance it has the added feature of being a mirror canon. The Pannonia String Quartet of Marl has been playing together since 1975.

The Heimdall Fanfare forms part of the Creation, begun in 1971, Hardin’s most ambitious contrapuntal work to date. The work tells the story of the Nordic Creation myth; in music and elegaic couplets the music is based on the first nine notes of the overtone series of the note g, used in order as a contrapuntal theme. The Fanfare is a nine-part canon in the dorian mode. Heimdall, a figure from the Nordic mythology, is the watchman of Asgard, who blows the Gjallar-Horn.

The Chaconne in C for organ was written in 1967. Along with the other organ works recorded here, it is played on the Breil organ of the Herz-Jesu Kirche, Oberhausen. The works on side two are taken from the Logrundr Book One for organ, written between 1974 and 1976 and dedicated to Paul Jordan. Like the twelve books of Madrigals and the four books of The Art of the Canon, this collection contains 25 pieces in all keys, arranged according to the circle of fifths, beginning and ending with pieces in C major. The works are canons over a repeated bass, sometimes with a coda. The counterpoint in all of Hardin’s canons is invertible, allowing the order of parts to be reversed in the middle of each piece. Logrundr XIX is a portrait of the composer’s mother.

About organ sound, Louis Hardin has said, “I like the diapason and the flutes the best, and care very little for the reeds. I like a clear, pure classic tone on the organ, without vibrato.” On Hardin’s being asked why some of the organ pieces as recorded here have reeds, the reply was, “Ask Storfinger”.

Hardin is currently at work on a second Logrundr Book, dedicated to Fritz Storfinger, which will contain organ duets as well as solo organ pieces.

Tracklist:

1-1. Gavin Black – Canon in C Major (2024 Remastered Edition) (01:16)
1-2. Gavin Black – Canon in C Minor (2024 Remastered Edition) (01:38)
1-3. Gavin Black – Ground In the Ionian Mode (2024 Remastered Edition) (01:40)
1-4. Gavin Black – Canon in the Mixolydian Mode (2024 Remastered Edition) (01:26)
1-5. Pannonia Quartet – Chaconne in G Major (2024 Remastered Edition) (04:53)
1-6. Guy Carmichael and Ensemble – Canon in the Dorian Mode for 9 Horns “Heimdall Fanfare” (2024 Remastered Edition) (03:16)
1-7. Pannonia Quartet – String Quartet in C Major: II. Romance (2024 Remastered Edition) (05:29)
1-8. Fritz Storfinger – Chaconne in C Major (2024 Remastered Edition) (03:09)
1-9. Fritz Storfinger – Logründr No. XV in B Major (2024 Remastered Edition) (01:28)
1-10. Fritz Storfinger – Logründr No. XVII in E Major (2024 Remastered Edition) (03:54)
1-11. Fritz Storfinger – Logründr No. XIII in F-Sharp Major (2024 Remastered Edition) (03:34)
1-12. Fritz Storfinger – Logründr No. XII in B-Flat Minor (2024 Remastered Edition) (03:12)
1-13. Fritz Storfinger – Logründr No. VII in E-Flat Major (2024 Remastered Edition) (02:13)
1-14. Fritz Storfinger – Logründr No. IX in A Major “Portrait of My Mother” (2024 Remastered Edition) (09:19)
1-15. Moondog – Harpsichord Piece No. 1 (2024 Remastered Edition) (01:14)
1-16. Moondog – Harpsichord Piece No. 3 (2024 Remastered Edition) (01:38)
1-17. Moondog – Harpsichord Piece No. 5 (2024 Remastered Edition) (01:12)
1-18. Moondog – Harpsichord Piece No. 8 (2024 Remastered Edition) (01:32)
1-19. Moondog – Organ Piece No. 2 (2024 Remastered Edition) (01:23)
1-20. Moondog – Organ Piece No. 4 (2024 Remastered Edition) (00:43)
1-21. Moondog – Organ Piece No. 6 (2024 Remastered Edition) (02:39)
1-22. Moondog – Organ Piece No. 12 (2024 Remastered Edition) (00:45)
1-23. Moondog – Organ Piece No. 17 (2024 Remastered Edition) (00:26)
1-24. Moondog – Organ Piece No. 20 (2024 Remastered Edition) (01:56)
1-25. Moondog – Organ Piece No. 24 (2024 Remastered Edition) (01:11)
1-26. Moondog – Organ Piece No. 25 (2024 Remastered Edition) (00:45)
1-27. Moondog – Organ Piece No. 28 (2024 Remastered Edition) (01:56)
1-28. Moondog – Organ Piece No. 29 (2024 Remastered Edition) (08:29)
1-29. Moondog – Organ Piece No. 31 (2024 Remastered Edition) (01:33)
1-30. Moondog – Organ Piece No. 30 (2024 Remastered Edition) (00:53)

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Instrumental Jazz Love Songs, Love Music Zone – Fireplace Embrace: Cozy Romantic Background (2024)
FLAC (tracks) 24 bit/44,1 kHz | Time – 55:29 minutes | 546 MB | Genre: Jazz
Studio Masters, Official Digital Download | Front Cover | © Smooth Syncopation

Tracklist:

1-01. Instrumental Jazz Love Songs – Follow Your Dreams (03:28)
1-02. Instrumental Jazz Love Songs – Everything’s Possible (03:05)
1-03. Instrumental Jazz Love Songs – Dreams Come True (03:14)
1-04. Instrumental Jazz Love Songs – Life Is Like a Road (03:09)
1-05. Instrumental Jazz Love Songs – Welcome New Day (05:53)
1-06. Instrumental Jazz Love Songs – Rest in the Moonlight (02:49)
1-07. Instrumental Jazz Love Songs – Mellow Ambience (03:28)
1-08. Instrumental Jazz Love Songs – Deep Relaxation (03:09)
1-09. Instrumental Jazz Love Songs – Sense of Friendship (02:57)
1-10. Instrumental Jazz Love Songs – Jazz Vibes (04:38)
1-11. Instrumental Jazz Love Songs – Feel so Cool (03:31)
1-12. Instrumental Jazz Love Songs – Goodbye Past (04:32)
1-13. Instrumental Jazz Love Songs – Before Nightfall (03:01)
1-14. Instrumental Jazz Love Songs – Small Quiet Place (03:35)
1-15. Instrumental Jazz Love Songs – Fabulously Gentle (04:51)

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Andrew Holdsworth – Reimagined for Ballet Class: Songs from the 2020s, Vol. 4 (2025)
FLAC (tracks) 24 bit/96 kHz | Time – 51:59 minutes | 663 MB | Genre: Pop
Studio Masters, Official Digital Download | Front Cover | © REIMAGINED RECORDINGS

Andrew Holdsworth works in London as a ballet pianist and record producer. He produced the orchestral and piano music for all the grades and vocational syllabi for the Royal Academy of Dance, from Pre-Primary to Advanced 2, and has also produced music for the ISTD and BBO. He has played for ballet and tap classes from the age of 11 and is currently a tutor and pianist on the teacher training course at the Royal Ballet School. As an artist, he has arranged and produced over twenty albums of music for ballet and tap class, around half of it for solo piano, the rest for full orchestra and a range of ensembles. Away from the ballet world, Andrew has worked with artists such as Primal Scream, The Cure, Paradise Lost, Damian Wilson, Mary Black, The Bach Choir, Goldie and Alexandra Burke in the recording studio.

Tracklist:

1-1. Andrew Holdsworth – Beautiful Things (Warm Up) (02:50)
1-2. Andrew Holdsworth – Please, Please, Please (Swing Warm Up) (03:25)
1-3. Andrew Holdsworth – Die with a Smile (Pliés) (01:53)
1-4. Andrew Holdsworth – Espresso (Tendus 1) (01:16)
1-5. Andrew Holdsworth – I Had Some Help (Tendus 2) (01:02)
1-6. Andrew Holdsworth – Feather (Tendus 3) (01:09)
1-7. Andrew Holdsworth – Stick Season (Glissés) (01:14)
1-8. Andrew Holdsworth – Yes, And? (Jetés) (01:24)
1-9. Andrew Holdsworth – Fast Car (Ronds de Jambe à Terre) (02:01)
1-10. Andrew Holdsworth – Lunch (Fondus) (02:33)
1-11. Andrew Holdsworth – I Don’t Wanna Wait (Frappés) (01:08)
1-12. Andrew Holdsworth – I Like the Way You Kiss Me (Petits Battements) (01:04)
1-13. Andrew Holdsworth – Fortnight (Adage) (02:07)
1-14. Andrew Holdsworth – Too Sweet (Grands Battements) (01:13)
1-15. Andrew Holdsworth – We Can’t Be Friends (Cloches) (01:05)
1-16. Andrew Holdsworth – I Remember Everything (Stretch / Adage) (02:33)
1-17. Andrew Holdsworth – Slow It Down (Port de Bras) (01:59)
1-18. Andrew Holdsworth – Greedy (Centre Tendus) (01:12)
1-19. Andrew Holdsworth – Never Going Home Tonight (Adage) (01:10)
1-20. Andrew Holdsworth – I Can Do It With a Broken Heart (Waltz / Balancés) (02:34)
1-21. Andrew Holdsworth – Lose Control (Pirouettes 1) (02:54)
1-22. Andrew Holdsworth – Birds of a Feather (Pirouettes 2) (01:36)
1-23. Andrew Holdsworth – Hot to Go (Turns) (01:06)
1-24. Andrew Holdsworth – Texas Hold ’em (Petit Allegro 1) (01:23)
1-25. Andrew Holdsworth – Austin (Petit Allegro 2) (00:44)
1-26. Andrew Holdsworth – A Bar Song, Tipsy (Allegro 1) (01:39)
1-27. Andrew Holdsworth – Good Luck, Babe (Allegro 2) (01:43)
1-28. Andrew Holdsworth – Water (Allegro 3) (02:29)
1-29. Andrew Holdsworth – Boyfriend (Grand Allegro) (02:17)
1-30. Andrew Holdsworth – Beautiful Things (Port de Bras & Révérence) (01:03)

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Various Artists – Hitsville: The Making Of Motown (Original Motion Picture Soundtrack) (2019)
FLAC (tracks) 24 bit/96 kHz | Time – 03:10:33 minutes | 4,11 GB | Genre: Soundtrack
Studio Masters, Official Digital Download | Front Cover | © Motown Records

The original motion picture soundtrack to the Showtime documentary film “Hitsville: The Making of Motown” releases on 8/16. Highlighting the founding years of Motown, the album celebrates icons such as The Temptations, Marvin Gaye, Smokey Robinson & the Miracles, The Supremes, Martha Reeves & The Vandellas, Stevie Wonder, and more. Revisit the music of Berry Gordy’s storied Detroit label and the artists who defined “the sound of young America”. Remastered audio on CD, deluxe double CD & Vinyl.

Tracklist:

1. Various Artists – Papa Was A Rollin’ Stone (06:55)
2. Various Artists – Please Mr. Postman (Single Version) (02:29)
3. Various Artists – Shotgun (03:03)
4. Various Artists – I Can’t Help Myself (Sugar Pie, Honey Bunch) (02:41)
5. Various Artists – Where Did Our Love Go (02:31)
6. Various Artists – My Girl (02:44)
7. Various Artists – Fingertips (Pt. 2 / Live At The Regal Theater, 1963) (03:13)
8. Various Artists – Do You Love Me (02:53)
9. Various Artists – I Want You Back (02:59)
10. Various Artists – My Guy (02:54)
11. Various Artists – Shop Around (02:48)
12. Various Artists – I Heard It Through The Grapevine (02:47)
13. Various Artists – Just My Imagination (Running Away With Me) (03:47)
14. Various Artists – Ain’t No Mountain High Enough (02:27)
15. Various Artists – Mickey’s Monkey (02:46)
16. Various Artists – Stubborn Kind Of Fellow (02:47)
17. Various Artists – Money (That’s What I Want) (02:37)
18. Various Artists – Dancing In The Street (02:38)
19. Various Artists – Ain’t Too Proud To Beg (02:33)
20. Various Artists – Uptight (Everything’s Alright) (02:55)
21. Various Artists – Who’s Lovin’ You (04:02)
22. Various Artists – The Tears Of A Clown (03:00)
23. Various Artists – Baby Love (02:35)
24. Various Artists – Come See About Me (02:41)
25. Various Artists – Get Ready (02:39)
26. Various Artists – What’s Going On (03:53)
27. Various Artists – The Tracks Of My Tears (02:55)
28. Various Artists – This Old Heart Of Mine (Is Weak For You) (02:38)
29. Various Artists – For Once In My Life (02:49)
30. Various Artists – (Love Is Like A) Heat Wave (02:44)
31. Various Artists – What Becomes Of The Brokenhearted (02:59)
32. Various Artists – I’ll Be There (03:58)
33. Various Artists – Bernadette (03:03)
34. Various Artists – Ball Of Confusion (That’s What The World Is Today) (04:06)
35. Various Artists – Inner City Blues (Make Me Wanna Holler) (05:27)
36. Various Artists – You Keep Me Hangin’ On (02:42)
37. Various Artists – (I’m A) Road Runner (02:43)
38. Various Artists – I Heard It Through The Grapevine (03:17)
39. Various Artists – Baby, I’m For Real (03:19)
40. Various Artists – Girl (Why You Wanna Make Me Blue) (02:17)
41. Various Artists – Reach Out I’ll Be There (02:59)
42. Various Artists – Ain’t No Mountain High Enough (06:17)
43. Various Artists – The Way You Do The Things You Do (02:40)
44. Various Artists – My Heart Can’t Take It No More (02:51)
45. Various Artists – Got A Job (02:43)
46. Various Artists – All In Love Is Fair (03:42)
47. Various Artists – You Can’t Hurry Love (02:45)
48. Various Artists – You Really Got A Hold On Me (02:50)
49. Various Artists – You’re Nobody Till Somebody Loves You (Live At The Copa) (05:44)
50. Various Artists – Superstition (04:09)
51. Various Artists – Cloud Nine (03:30)
52. Various Artists – I’ll Try Something New (02:39)
53. Various Artists – ABC (02:58)
54. Various Artists – Heaven Must Have Sent You (02:36)
55. Various Artists – Your Precious Love (03:03)
56. Various Artists – I Wish It Would Rain (02:49)
57. Various Artists – I Second That Emotion (02:46)
58. Various Artists – Signed, Sealed, Delivered (I’m Yours) (Single Version) (02:40)
59. Various Artists – It’s A Shame (03:08)
60. Various Artists – Never Can Say Goodbye (03:01)

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James D. Hicks – Nordic Journey, Vol. 17 (2024)
FLAC (tracks) 24 bit/96 kHz | Time – 02:36:27 minutes | 3,12 GB | Genre: Classical
Studio Masters, Official Digital Download | Digital Booklet, Front Cover | © Pro Organo

In January 2010, the producer for the Pro Organo label, Frederick Hohman, joined talents with James D. Hicks, in producing and releasing the very first Nordic Journey recording. Little did they know then how this concept would grow over the next 15 years. As long as conditions permit, this journey will likely continue. In these recordings, many of them double-CD releases, James D. Hicks has brought a greater appreciation for composers from the Nordic lands, with literature spanning over four centuries. An even greater achievement has been Dr. Hicks’ commissioning and recording of new organ music by living composers, ranging from those who are quite young and new to the music scene, to those who have had many decades of experience and renown.

Tracklist:

1-1. James D. Hicks – North Atlantic Fanfare (02:13)
1-2. James D. Hicks – Missa Norvegica, Op. 219: I. Kyrie (03:52)
1-3. James D. Hicks – Missa Norvegica, Op. 219: II. Gloria (02:44)
1-4. James D. Hicks – Missa Norvegica, Op. 219: III. Credo (04:25)
1-5. James D. Hicks – Missa Norvegica, Op. 219: IV. Sanctus (05:39)
1-6. James D. Hicks – Missa Norvegica, Op. 219: V. Agnus Dei (05:39)
1-7. James D. Hicks – Outer Hebrides (08:23)
1-8. James D. Hicks – Kali Kolsson’s Journey (11:08)
1-9. James D. Hicks – Prelude, Scherzo & Passacaglie, Op. 41: I. Prelude (04:59)
1-10. James D. Hicks – Prelude, Scherzo & Passacaglie, Op. 41: II. Scherzo (03:36)
1-11. James D. Hicks – Prelude, Scherzo & Passacaglie, Op. 41: III. Passacaglia (09:37)
1-12. James D. Hicks – 200 km/t á Oyggjarvegnum (07:07)
1-13. James D. Hicks – Kamutseq (02:56)
1-14. James D. Hicks – Dímun (05:51)
2-15. James D. Hicks – Kom andin Halgi (06:09)
2-16. James D. Hicks – Preludium for Organ (08:22)
2-17. James D. Hicks – Hommage (04:43)
2-18. James D. Hicks – Starka virna vestilie (05:28)
2-19. James D. Hicks – Sinfonia Arctadriae, Op. 105: I. Tvisöngur (07:08)
2-20. James D. Hicks – Sinfonia Arctadriae, Op. 105: II. Gymel (05:24)
2-21. James D. Hicks – Sinfonia Arctadriae, Op. 105: III. Scherzo Ostinato (04:30)
2-22. James D. Hicks – Sinfonia Arctadriae, Op. 105: IV. Liljafragment: IV. Liljafragment (09:38)
2-23. James D. Hicks – Grundfjeldslys: I. Praeludium (05:15)
2-24. James D. Hicks – Grundfjeldslys: II. Postludium (07:26)
2-25. James D. Hicks – Kven kan seia ut den glede (Arr. for Organ by Mons Leidvin Takle) (05:21)
2-26. James D. Hicks – The Place of My Childhood (02:42)
2-27. James D. Hicks – Hymn to Freedom (Arr. for Organ by Mons Leidvin Takle) (06:12)

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Andrea Lam – Matthew Hindson: Sad Piano (2024)
FLAC (tracks) 24 bit/88,2 kHz | Time – 48:09 minutes | 577 MB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Idiom Records

“I started this album during lockdown, when I felt an intense need to write music that was personal and overtly emotional. It’s quite a change from anything I have written before. And I’m utterly delighted that the extraordinary Australian pianist, Andrea Lam, recorded the album and is playing live in concert.”

Tracklist:

1-1. Andrea Lam – Longing (02:43)
1-2. Andrea Lam – Luminescence (06:52)
1-3. Andrea Lam – Resilience (07:07)
1-4. Andrea Lam – Love (04:18)
1-5. Andrea Lam – Attraction (03:30)
1-6. Andrea Lam – Goodbye (04:47)
1-7. Andrea Lam – Aftermath (04:28)
1-8. Andrea Lam – Memories (02:59)
1-9. Andrea Lam – Innocence (04:18)
1-10. Andrea Lam – Lullaby (04:02)
1-11. Andrea Lam – Nostalgia (02:59)

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New York Philharmonic – Guido Cantelli Spectacular! Live Rarities (2025)
FLAC (tracks) 24 bit/96 kHz | Time – 04:01:03 minutes | 3,64 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Archipel

Guido Cantelli featuring Boston Symphony Orchestra, Guido Cantelli featuring NBC Symphony Orchestra, New York Philharmonic Orchestra and Guido Cantelli featuring Westminster Choir, Westminster Choir

New York Philharmonic, Boston Symphony Orchestra, NBC Symphony Orchestra, Westminster Choir, Westminister Choir, Guido Cantelli.

Tracklist:

1-1. Guido Cantelli – 01 Daphnis et Chloè Suite No. 2 (Live) (14:11)
1-2. Guido Cantelli – 02 The Pines of the Villa Borghese (Live) (02:24)
1-3. Guido Cantelli – 03 Pines near a Catacomb (Live) (05:59)
1-4. Guido Cantelli – 04 The Pines of the Janiculum (Live) (05:59)
1-5. Guido Cantelli – 05 The Pines of the Appian Way (Live) (04:42)
1-6. New York Philharmonic – 06 Don Juan (Live) (17:56)
1-7. New York Philharmonic – 07 Tod und Verklärung (Live) (22:30)
1-8. New York Philharmonic – 08 The Sorcerer’s Apprentice (Live) (11:00)
1-9. New York Philharmonic – 09 Berceuse élégiaque (Live) (08:02)
1-10. New York Philharmonic – 10 Tanzwalzer (Live) (10:52)
1-11. Guido Cantelli – 11 Allegro agitato (Live) (04:08)
1-12. Guido Cantelli – 12 Polacchetta – Allegretto moderato (Live) (03:58)
1-13. Guido Cantelli – 13 Romanza – Larghetto cantabile amoroso (Live) (04:32)
1-14. Guido Cantelli – 14 Tarantella – Presto molto (Live) (04:59)
1-15. Guido Cantelli – 15 Partita per Orchestra (Live) (22:48)
1-16. Guido Cantelli – 16 Pezzo Concertante (Live) (13:07)
1-17. New York Philharmonic – 17 Frammenti Sinfonici Marsia (Live) (16:00)
1-18. New York Philharmonic – 18 Lacrymosa (Live) (09:11)
1-19. New York Philharmonic – 19 Dies irae (Live) (05:44)
1-20. New York Philharmonic – 20 Requiem aeternam (Live) (05:41)
1-21. New York Philharmonic – 21 Sancta Maria, Ora pro nobis (Live) (11:56)
1-22. New York Philharmonic – 22 Magnificat No. 2 (Live) (21:34)
1-23. New York Philharmonic – 23 Te Deum (Live) (13:38)

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Christine Townsend, Stephen Robbings – A Questing Soul (2025)
FLAC (tracks) 24 bit/96 kHz | Time – 01:31:38 minutes | 1,55 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Divine Art

Robin Stevens’ A Questing Soul, his fifth album with Divine Art, offers a compelling portrait of a composer whose work has evolved over nearly three decades. This collection spans a broad stylistic spectrum, charting Stevens’ progression from the lush Late Romanticism of his early works to the more dissonant and experimental idioms of his later compositions. Throughout, Stevens balances technical innovation with an underlying sense of lyricism, humour, and tonal clarity, making this album a rich listening experience for those who appreciate the depth and variety of contemporary chamber music.The two most substantial works on the album—Fantasy Sonata and Sonata Tempesta—were composed during Stevens’ late twenties and represent key milestones in his early output. The Fantasy Sonata, written for violinist Christine Townsend and pianist Stephen Robbings, presents an intensely focused sound world built around the octatonic scale. Its single-movement structure moves from a soulful, lamenting introduction to more turbulent, faster sections, culminating in a joyfully intense peroration. Sonata Tempesta, in contrast, is a large-scale, four-movement work whose expansive form allows Stevens to weave together moments of lyrical beauty and stormy intensity. Both pieces showcase Stevens’ ability to combine complexity and accessibility, creating compositions that are intellectually stimulating yet emotionally resonant.

The album also includes a number of shorter works, or “miniatures,” which offer Stevens the opportunity to explore new compositional ideas on a smaller scale. Pieces like Stratospheric! for solo violin and Toccata for solo piano demonstrate his flair for virtuosity and dynamic contrasts, while others, such as Cri de Coeur, evoke more contemplative, intimate soundscapes. These miniatures are fascinating in their own right, offering a glimpse into the composer’s more experimental tendencies.

One of the album’s more unusual works, Scherzo in Blue, brings jazz influences into Stevens’ instrumental music—a rarity in his oeuvre. The piece is infused with “blue notes” and jazzy piano chords, creating a playful yet sophisticated contrast to the more classical structures found elsewhere on the album.

The title track, A Questing Soul, reflects the essence of the album: a compact tone poem for solo piano that alternates between dreamy lyricism and muscular, assertive themes. The piece encapsulates Stevens’ ability to juxtapose contrasting musical ideas, leaving listeners with as many questions as answers—an approach that defines much of his work.

With its blend of large-scale sonatas, experimental miniatures, and the intriguing title track, A Questing Soul offers a comprehensive view of Robin Stevens’ compositional range. This album will appeal to those with an interest in the intersections of modernism, Romanticism, and contemporary chamber music.

Tracklist:

1-01. Christine Townsend – Fantasy Sonata (15:56)
1-02. Stephen Robbings – Toccata (02:15)
1-03. Christine Townsend – Cri de Coeur (02:58)
1-04. Christine Townsend – Stratospheric! (04:27)
1-05. Christine Townsend – Scherzo in Blue (01:35)
1-06. Stephen Robbings – Reconciliation (06:00)
2-01. Christine Townsend – Sonata Tempesta: I. Adagio con moto – Moderato, energico ed appassionato (10:34)
2-02. Christine Townsend – Sonata Tempesta: II. Scherzo. Allegro vivo (04:42)
2-03. Christine Townsend – Sonata Tempesta: III. Andante tranquillo (10:13)
2-04. Christine Townsend – Sonata Tempesta: IV. Finale. Allegro con spirito (07:25)
2-05. Stephen Robbings – A Questing Soul (04:01)
2-06. Christine Townsend – Tom and Jerry (02:23)
2-07. Stephen Robbings – Three Vignettes: I. Beethoven through the Looking Glass (00:32)
2-08. Stephen Robbings – Three Vignettes: II. Summertime Langour (01:19)
2-09. Stephen Robbings – Three Vignettes: III. Master of the Rocking Horse (00:52)
2-10. Christine Townsend – An Interrupted Waltz (03:51)
2-11. Stephen Robbings – Three Bagatelles: I. Tempo di Valse (01:29)
2-12. Stephen Robbings – Three Bagatelles: II. Allegro non troppo (01:00)
2-13. Stephen Robbings – Three Bagatelles: III. Allegro fuoco (02:10)
2-14. Christine Townsend – Say Yes To Life (05:26)
2-15. Stephen Robbings – Soliloquy (02:30)

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Stefan Milenkovic – Brahms / Bach / Liszt (2025)
FLAC (tracks) 24 bit/48 kHz | Time – 01:15:02 minutes | 800 MB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © NEW WORLD CLASSIC (LC 95656)

Music analysts refer to Johannes Brahms (1833–1897) as the “third B”, after Bach and Beethoven. Although music history frequently labels him as the last German Romantic of the 19th century, his style and his attitude to art need to be understood somewhat more broadly. Compared to Liszt and Wagner, the “New Germans”, Brahms was conservative, but he was in fact the heir to the classical symphonic legacy of Mozart, Haydn and especially Beethoven, while his artistic roots reach even deeper, to the strict Baroque world of Bach.

Tracklist:

1-1. Sarajevo Philharmonic – Violin Concerto in D Major, Op. 77: I. Allegro non troppo (Live, Sarajevo, 2023) (24:00)
1-2. Sarajevo Philharmonic – Violin Concerto in D Major, Op. 77: II. Adagio (Live, Sarajevo, 2023) (08:58)
1-3. Sarajevo Philharmonic – Violin Concerto in D Major, Op. 77: III. Allegro giocoso, ma non troppo vivace – Poco più presto (Live, Sarajevo, 2023) (08:20)
1-4. Sarajevo Philharmonic – Violin Partita No. 2 in D Minor, BWV 1004: I. Allemande (Live, Sarajevo, 2023) (04:39)
1-5. Sarajevo Philharmonic – Hungarian Rhapsody No. 2, arr. by Karl Müller-Berghaus for orchestra in C Minor, S.244 (Live, Sarajevo, 2023) (10:47)
1-6. Sarajevo Philharmonic – 21 Hungarian Dances, WoO 1: Hungarian Dance No. 1, Orch. Brahms in G Minor, Allegro molto (Live, Sarajevo, 2023) (02:58)
1-7. Sarajevo Philharmonic – 21 Hungarian Dances, WoO 1: Hungarian Dance No. 3, Orch. Brahms in F Major, Allegretto (Live, Sarajevo, 2023) (02:05)
1-8. Sarajevo Philharmonic – 21 Hungarian Dances, WoO 1: Hungarian Dance No. 10, Orch. Brahms in F Major, Presto (Live, Sarajevo, 2023) (01:39)
1-9. Sarajevo Philharmonic – 21 Hungarian Dances, WoO 1: Hungarian Dance No. 4, Orch. Juon in F-Sharp Minor, Poco sostenuto (Live, Sarajevo, 2023) (04:51)
1-10. Sarajevo Philharmonic – 21 Hungarian Dances, WoO 1: Hungarian Dance No. 6, Orch. Parlow in D Major, Vivace (Live, Sarajevo, 2023) (03:25)
1-11. Sarajevo Philharmonic – 21 Hungarian Dances, WoO 1: Hungarian Dance No. 5, Orch. Parlow in G Minor, Allegro (Live, Sarajevo, 2023) (03:13)

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Love Music Zone – Sexy Valentine’s Day 2024 (2024)
FLAC (tracks) 24 bit/44,1 kHz | Time – 55:43 minutes | 549 MB | Genre: Jazz
Studio Masters, Official Digital Download | Front Cover | © Jazzy Workshop

Tracklist:

1-01. Love Music Zone – Sexy & Noir (03:29)
1-02. Love Music Zone – Music for Quiet Moments (04:27)
1-03. Love Music Zone – Jazz Mood – Erotic Dance (04:02)
1-04. Love Music Zone – Sentimental Sounds (03:49)
1-05. Love Music Zone – Sensual Touch (03:20)
1-06. Love Music Zone – Body & Soul (04:21)
1-07. Love Music Zone – Sensual Summer (04:02)
1-08. Love Music Zone – Sassy and Classy (03:31)
1-09. Love Music Zone – Late Night Jazz (04:34)
1-10. Love Music Zone – Give Me Your Love (03:28)
1-11. Love Music Zone – Day & Night (03:14)
1-12. Love Music Zone – Dinner Background Music (03:08)
1-13. Love Music Zone – Love Story – Magical Jazz (03:29)
1-14. Love Music Zone – Hot Lounge Music (03:15)
1-15. Love Music Zone – Time to Love (03:28)

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Piano & Nature – Calm Melodies (2020)
FLAC (tracks) 24 bit/44,1 kHz | Time – 31:47 minutes | 275 MB | Genre: Pop
Studio Masters, Official Digital Download | Front Cover | © Piano & Nature

Tracklist:

01. Piano & Nature – Love Together (02:48)
02. Piano & Nature – Winter (02:20)
03. Piano & Nature – Witness (02:00)
04. Piano & Nature – Nature Opera (02:35)
05. Piano & Nature – Home (02:16)
06. Piano & Nature – Link (02:10)
07. Piano & Nature – Hybrid (02:08)
08. Piano & Nature – Message (01:54)
09. Piano & Nature – Mirror (02:00)
10. Piano & Nature – Chinese Relaxation (01:42)
11. Piano & Nature – Butterfly (01:57)
12. Piano & Nature – Always (01:42)
13. Piano & Nature – Mirage (02:06)
14. Piano & Nature – Dreams (02:08)
15. Piano & Nature – Terrible (01:54)

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Piano & Nature – Melodies for Relaxation (2020)
FLAC (tracks) 24 bit/44,1 kHz | Time – 43:07 minutes | 406 MB | Genre: Pop
Studio Masters, Official Digital Download | Front Cover | © Piano & Nature

Tracklist:

01. Piano & Nature – Interlude (02:28)
02. Piano & Nature – Halo (02:00)
03. Piano & Nature – Loveless (02:02)
04. Piano & Nature – Eclipse (02:02)
05. Piano & Nature – Sun on Heart (02:10)
06. Piano & Nature – Apparitions (02:02)
07. Piano & Nature – Emergence (02:10)
08. Piano & Nature – Solitude (02:16)
09. Piano & Nature – Blessed (01:58)
10. Piano & Nature – Wind Love (01:50)
11. Piano & Nature – Natural Love (02:05)
12. Piano & Nature – Senses (02:07)
13. Piano & Nature – Sensation (01:32)
14. Piano & Nature – Animals (01:53)
15. Piano & Nature – Lights (02:45)
16. Piano & Nature – Ondine (01:58)
17. Piano & Nature – Horizons (02:06)
18. Piano & Nature – Existence (02:24)
19. Piano & Nature – Heaven (02:28)
20. Piano & Nature – Nocturne (02:46)

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Robbie Williams – Better Man (Original Motion Picture Soundtrack) (2024)
FLAC (tracks) 24 bit/48 kHz | Time – 52:04 minutes | 633 MB | Genre: Pop, Soundtrack
Studio Masters, Official Digital Download | Front Cover | © Columbia

Soundtrack to the semi-biographical film about British pop singer Robbie Williams, featuring re-recorded and re-arranged versions of songs by Williams, including ‘She’s the One’, ‘Angels’, and ‘Let Me Entertain You’.

Tracklist:

1-1. Robbie Williams – Feel (From Better Man: Original Motion Picture Soundtrack) (03:00)
1-2. Robbie Williams – I Found Heaven (From Better Man: Original Motion Picture Soundtrack) (03:02)
1-3. Robbie Williams – Rock DJ (From Better Man: Original Motion Picture Soundtrack) (04:01)
1-4. Robbie Williams – Relight My Fire (From Better Man: Original Motion Picture Soundtrack) (02:36)
1-5. Robbie Williams – Come Undone (From Better Man: Original Motion Picture Soundtrack) (03:08)
1-6. Robbie Williams – She’s the One (From Better Man: Original Motion Picture Soundtrack) (04:17)
1-7. Robbie Williams – Something Beautiful (From Better Man: Original Motion Picture Soundtrack) (04:01)
1-8. Robbie Williams – Land of 1000 Dances (From Better Man: Original Motion Picture Soundtrack) (04:05)
1-9. Robbie Williams – Angels (From Better Man: Original Motion Picture Soundtrack) (05:29)
1-10. Robbie Williams – Let Me Entertain You (From Better Man: Original Motion Picture Soundtrack) (03:38)
1-11. Robbie Williams – Better Man (From Better Man: Original Motion Picture Soundtrack) (04:20)
1-12. Robbie Williams – My Way (From Better Man: Original Motion Picture Soundtrack) (07:04)
1-13. Robbie Williams – Forbidden Road (From Better Man: Original Motion Picture Soundtrack) (03:17)

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