Weber/ Hofstetter - OberonFor the specific atmosphere of Oberon Michael Hofstetter found it crucial that the performance was played on the period instruments Weber composed for. In Giessen, he worked with four natural horns, natural trumpets, finely tuned trombones and not least flutes made of wood instead of metal. This produced an inexhaustible wealth of acoustic colors, enabling us to sensually experience what might really be meant by the concept of German Romanticism on

Taking advantage of the vocal characteristics of the two instruments - the extensive range and singing likeness of the cello and the two liturgical registers of the bandoneon (left hand and right hand) - the artists perform this music as if they are three singers

and Phoebe Bridgers

the violinist and conductor Giacomo Benedetti has produced these stylish recordings with fellow Italian singers and instrumentalists schooled in historically informed performance practice

Many of these were influenced by the Ainu melodies of his youth

volatile and obsessive director

Bart Skils delivers a rework/remix of the 2003 club classic by Superchumbo (aka US producer Tom Stephan)

It is a journey encompassing the various musical traditions along the path taken by the Grail through the centuries

His Missa Brevis was inspired by seeing a beam of sunlight pierce a cloud of moving incense

which spawned the hit single "In the Meantime

Two movements from Iberia- one of which is a rarely encountered arrangement by the great Spanish pianist Alicia de Larrocha - reveal a daring modernity that aligns Albéniz with Debussy and Ravel

moaning women

for violin and piano allows him to make the violin a part among parts