For his opera Messiaen turned to Saint Francis, the saint sharing the most traits with the figure of Christ. He then chose for his last grand organ cycle the mystery of the Eucharist, in which all the mysteries connected with his faith in Christ are summed up. The improvisation that follows the work is in a sense an homage to "Messiaen as improviser", considering how crucial this aspect of his career as a composer/organist was. Loïc Mallié, a former student of Olivier Messiaen, performs here at the Master’s organ.

Combining the alpha and the omega of Richard Strauss's music, Trio Arnold,Nathanael Gouin and their partners from the budding French chamber music scene invite us on a journey as astonishing as it is sublime to the end of German Romanticism, from the radiant energy of the Piano and String Quartet to the twilight elegance of Metamorphosen.

American pianist and academic Michael Kaykov follows his first Odradek release, Liszt: Unrivalled, with Unrivalled Volume 2, an album devoted to the composer's extraordinary late piano works.

Audrey Powne's stunning debut album, From The Fire, is set to be one of those must have LPs in any music lover's collection. Something of an auteur release it features nine tracks all composed by Audrey, with all string arrangements and all produced by her. Audrey's decision to produce the whole album herself came from a desire to take creative control of her music and apply techniques developed from the influences of the producers she had previously worked with. If all of the above were not enough Audrey also wrote the lyrics for those tracks on which she sings, and as a multi-instrumentalist contributes piano, Rhodes and organ. She also features as a trumpeter with dextrous and soaring solos as evidenced by the two single releases so far; Feed The Fire and the title track, From The Fire.

On his 17th full-length album, singer-songwriter Anders Osborne describes Picasso’s Villa, “a condensed story about living in America between 2018-2021, the fears, confusion, deep joy and peace achieved through true friendship, family, community, hours of meditation and detachment from ego.

The Piano Concerto No. 1 in B♭ minor, Op. 23, was composed by Pyotr Ilyich Tchaikovsky between November 1874 and February 1875. It was revised in 1879 and in 1888. It was first performed on October 25, 1875, in Boston by Hans von Bülow after Tchaikovsky's desired pianist, Nikolai Rubinstein, criticised the piece. Rubinstein later withdrew his criticism and became a fervent champion of the work. It is one of the most popular of Tchaikovsky's compositions and among the best known of all piano concerti.

Sebastian Bohren's world-premiere recording of "In Evening Light", the second violin concerto by Peteris Vasks, comes 25 years after the celebrated Latvian composer's first, "Distant Light", one of the most successful, oft-performed and recorded concertos by a living a composer. "In Evening Light" seems certain to follow in its forebearer's footsteps, destined to become another modern classic.

The century was only twenty-one years old, and so was Ernst Krenek, when his Serenade op. 4 was premièred on 31 July 1921 at the newly launched “Donaueschingen Chamber Music Performances for the advancement of contemporary music.” The event soon came to be known as Donaueschingen Festival, now one of the oldest specialized music festivals worldwide: Krenek’s music has occasionally been heard there since then – albeit as a series of utterly contrasting works one would hardly ascribe to the same composer.

Shostakovich completed his Viola Sonata in 1975, just a few weeks before he died, making it his last composition, his swan song. The piece was written for the violist of the Beethoven Quartet, Fyodor Druzhinin, who received the score three days before the composer’s death. In this large-scale, three-movement sonata, the composer looks back over his oeuvre and the vicissitudes of his life, quoting from his unfinished opera (The Gamblers), his symphonies, and his Suite in F sharp minor, while the composition’s long, slow final movement stands as a memorial to Beethoven. The critic of the daily paper Izvestia wrote that the piece is “like the catharsis in a tragedy; life, struggles, victory, purification through light, and stepping into immortality.” We hear this heart-rending work in a perceptive performance by regular partners: the Ukrainian violist Maxim Rysanov, and the Armenian pianist Marianna Shirinyan.

In January it was revealed that Thom Yorke composed the original score for Daniele Luchetti’s film Confidenza, an adaptation of the Italian drama based on Domenico Starnone’s novel of the same name, now it gets released physically on XL. Confidenza follows Yorke’s previous full-length score and original soundtrack for Luca Guadagnino’s 2018 Suspiria remake, Suspirium receiving a GRAMMY-nomination for Best Song Written for Visual Media. Produced by Sam Petts-Davies (Suspiria, The Smile Wall Of Eyes), Confidenza sees Petts-Davies and Yorke working again with the London Contemporary Orchestra alongside a jazz ensemble which included Robert Stillman and fellow The Smile bandmate Tom Skinner.

Once again, Six Organs of Admittance showcases the intricate tangle of fingers on the fretboard and flash of lens flare slicing the air, as the future arcs 360 degrees around to become a part of the past as well. Oscillations in this glass bowl ripple outward eternally, but are rooted on the ground where all the creatures are moving and communing; humans too. An intimate cosmic expression, file under: rural-industrial psych, ecosystem goth.

Big Star, considered to be among the founders of power pop, has been cited as an influence by many of the major alternative bands of the ’80s and ’90s, and continues to be a powerful presence in today’s musical landscape. Artists such as R.E.M., Teenage Fanclub, The Replacements (who famously penned the song “Alex Chilton”) and Wilco all enthusiastically tout the artistic impact of the group. Mike Mills recalls Big Star as “a band who had gotten it right, who made records that sounded like rock and roll bands should sound. A band who wrote all the songs, from flat-out rockers to achingly beautiful ballads that were still somehow rock songs.”

Big Star, considered to be among the founders of power pop, has been cited as an influence by many of the major alternative bands of the ’80s and ’90s, and continues to be a powerful presence in today’s musical landscape. Artists such as R.E.M., Teenage Fanclub, The Replacements (who famously penned the song “Alex Chilton”) and Wilco all enthusiastically tout the artistic impact of the group. Mike Mills recalls Big Star as “a band who had gotten it right, who made records that sounded like rock and roll bands should sound. A band who wrote all the songs, from flat-out rockers to achingly beautiful ballads that were still somehow rock songs.”

Erich J. Wolff’s name will be unfamiliar to many but in the 1920s an authoritative reference book on popular art song ranked his compositions fourth, behind Hugo Wolf, Richard Strauss and Gustav Mahler. The first volume in this series of Wolff’s Complete Songs introduces a composer of astonishing gifts whose Romanticism is as daring as his formal sophistication. Wolff’s songs are lyrical, serene and full of melodic beauty, coupled with piano writing that is both virtuosic and atmospheric.

Widely recognised as the leading Welsh composer of his generation, Huw Watkins is an increasingly prolific writer of works for chamber ensembles, alongside his distinguished career as a pianist. Composed between 2009 and 2022, the five works featured on this disc take the listener on a fascinating journey through Watkins’s recent musical evolution. The acclaimed Leonore Piano Trio begin with the earliest of these works – the 2009 Piano Trio No. 1 – whilst conductor George Vass’s Orchestra Nova brings us the Little Symphony for strings and exquisite Concertino for violin and strings, performed here by trio violinist Benjamin Nabarro.