Santiago, Chile. The musical work Raíces y Alas, by the Chilean composer Sebastián Errázuriz and directed by Alejandra Urrutia, has officially started its path to be considered for the Latin Grammys, marking a new milestone for national artistic creation.

With these excerpts from Richard Wagner's "Rienzi," another historical recording, previously thought lost, has been discovered.

Sarah Tannehill Anderson is a versatile musician, excelling as a singer of opera, oratorio, choral music, contemporary works, and art song.

Herb Pedersen and producer Mike Post double-down the slickness on Sandman, delivered just a year after Southwest. Pedersen records the Carter Family's "Fair and Tender Ladies," but its delicate harmonies are the outlier on an album that's thoroughly LA. A better indication of Sandman's sensibility is the closing cover of Ralph Stanley's "If I Lose," a far tighter rendition than the one the Band cut a few years earlier; a version highlighted by stacked harmonies and a great bit of slide guitar from Lowell George that brings it close to Little Feat territory.

Acclaimed Signum artist Alexandra Dariescu brings a new combination of concertos: Clara Schumann’s Concerto in A minor Op. 7 coupled with Grieg’s A minor concerto Op. 16. Alexandra Dariescu is a trailblazing pianist who demonstrates fearless curiosity and ground-breaking innovation. As part of her artistic journey, Dariescu has achieved gender equality in her concerto programming for three consecutive seasons, reviving and premiering important works by both male and female composers, championing inclusion and diversity.

Whilst the continents contribution to the global funk, boogie and disco canon has been well documented for decades, the strong presence of rock and psychedelia in 1970's African music has been a more slowly evolving story over the years.

Born in Detroit in 1932, Dorothy Ashby can be easily recognized as the woman who gave the harp a jazz voice. In her hands, the harp, an originally classical instrument which seemed to just scare people, became a highly versatile swinging voice able to drive a whole jazz rhythm section. Recorded in 1958 by master Rudy Van Gelder and originally released on the Prestige label, Hip Harp is a perfect example of Ashby's artistry. At the head of a fine quartet featuring the great Frank Wess on flute, Herman Wright on bass, and master Art Taylor on drums, Ashby creates a unique combination of deeply jazz elements expressed through a totally new sound.

TWENTY is a 2026 album by Danish singer-songwriter Mads Langer, functioning as a curated, "Best Of" collection that revitalizes his previous work.

Sofiane Pamart's new album MOVIE, releasing April 17, 2026, is an ambitious, cinematic 20-track project blending intimate piano with orchestral arrangements.

Sean Shibe’s fifth PENTATONE album, Vesper, presents a striking collection of contemporary guitar works by the late Harrison Birtwistle, James Dillon, and Thomas Adès, all composed by musicians who do not play the instrument themselves. Recorded here for the first time, these recent miniatures explore the guitar’s expressive range in profoundly different ways: ritualistic and evocative in Birtwistle, elemental in Dillon, and allusive in Adès. Shibe’s interpretations reveal the instrument’s extraordinary colour, subtlety, and capacity for transformation, bringing each work to life with imagination and nuance.

At the heart of Double Concerto, is a focus on the relationships between our three main characters – the two soloists and the string orchestra. Some of my thinking on the roles these characters play grew out of early conversations I had with Stefan Jackiw and Yoonah Kim, the two soloists for which this piece was composed, and is dedicated. Jackiw described thinking of the role of the clarinet in string chamber works, such as Mozart’s Clarinet Quintet, as an invited guest.

This recording, 2026, represents a high-water mark for Baroque performance in the modern era. It brings together the Berliner Barock Solisten (the world-class early music ensemble of the Berlin Philharmonic) and Daishin Kashimoto, the Berlin Philharmonic’s esteemed First Concertmaster.

The Cleveland Orchestra and Music Director Franz Welser-Möst will release a new spatial audio recording on April 17 celebrating their creative partnership with composer and flutist Allison Loggins-Hull. The recording features three works composed by Loggins-Hull during her three-year tenure as the Orchestra’s Daniel R. Lewis Composer Fellow: Legacy, Can You See? (Orchestral Version), and Grit. Grace. Glory. Conducted by Welser-Möst and recorded live at Severance Music Center, these compositions exemplify the fellowship’s spirit of developing new music and artistic collaborations, while drawing on deep community connections.

Undreamed Shores brings together three major contemporary string quartets written for and performed by the Jupiter String Quartet, works the ensemble has lived with in performance over many years. In To Unpathed Waters, Undreamed Shores, Michi Wiancko traces a sequence of vividly imagined musical scenes inspired by the natural world. Across seven concise movements, the music reflects on fragility, ecological loss, and kinship, gradually moving toward a quietly hopeful call for collective responsibility. Composed during the pandemic, Stephen Andrew Taylor's Chaconne/Labyrinth is built around a repeating harmonic cycle, using just intonation to evoke the tension of being caught between stasis and searching. Familiar material continually returns, reshaped by a sense of uncertainty before leading toward clarity. Completing the album, Kati Agócs's Imprimatur (String Quartet No. 2) unfolds as a continuous rhapsodic meditation. Musical ideas are repeatedly transformed, moving between darkness and light, and culminating in a serene, luminous conclusion. Together, these works form a thoughtful exploration of contemporary quartet writing, each offering space to reflect on our shared humanity and to find moments of hope and light in challenging times.

For this third volume of their ‘Schubert 200’ series, Samuel Hasselhorn and Ammiel Bushakevitz celebrate the composer’s refound exuberance. After the sunlit summer of 1825, 1826 was a year of renewal for Schubert, bringing an astounding rush of artistic energy. These Lieder, pitched between nostalgia and quiet confidence, sing of a hope transcending the vagaries of life.