Consta de más de 80 músicos de diferentes nacionalidades y ha tenido cuatro directores oficiales: Max Bragado-Darman, Alejandro Posada, Lionel Bringuier, Andrew Gourlay y Thierry Fischer. Tiene su sede oficial desde el año 2007 en el Miguel Delibes, centro cultural de la ciudad de Valladolid.

Unquestionably Manuel María Ponce stands as one of the composers for the classical guitar of all time. Rare would be the virtuoso who does not acknowledge his brilliance. However, to reach such heights, history had to gift us a providential encounter with the greatest ambassador of the guitar in the 20th century: Andrés Segovia. Their profound relationship of friendship, respect, and admiration, evidenced through a fraternal correspondence and declarations, began in 1923. At that time, Ponce was a professor of Harmony at the National Conservatory of Mexico and a music critic. Manuel Ponce composed the Sonatas between 1923 and 1929, all commissioned and dedicated to Andrés Segovia. They constitute the first collection of Sonatas written in the 20th century by a non-guitarist composer, forming a fundamental and unique corpus in the concert guitar repertoire. Each Sonata possesses stylistic and formal characteristics that Segovia himself detailed.

On the 20th of August 2022, the centenary of the passing of Felipe Pedrell transpired—an occasion marking the solemn remembrance of the esteemed progenitor of Spanish musical nationalism. The catalogue of musical compositions by Pedrell, established in 1977, comprises a total of 231 titles. In the catalogue of his works, there is a notable emphasis on his interest in art song with accompaniment, serving as the foundation for his musical creations and a key element in his nationalist ideology. His initial compositions for voice and piano date back to 1857, where he endeavours to distance himself from the prevailing trends in Spanish music during his era and align with European musical styles. In this CD, performed by Joan Martín-Royo and Rubén Fernández Aguirre, we can appreciate the enormous quality of Pedrell’s compositions, marked by enormous contrast, the voice and piano accompaniment are superbly treated, and some songs exhibit exotic influences (Arab), at times mysterious and at others romantic. Undoubtedly, a work worthy of being among the most important lyrical repertoire.

Espada's soprano talent has taken her to Teatro Real, Concertgebouw Amsterdam, and Auditorio Nacional and to performances with Bonizzoni, Brüggen, and Casas.

Performer Pablo Suárez Calero, Composer Johann Sebastian Bach in Album "Bach Complete Violin Sonatas & Partitas" released in label IBS Artist 04-20-2023.

Im Laufe der argentinischen Kulturgeschichte wurden Musik und Literatur bei zahlreichen Gelegenheiten harmonisch miteinander verbunden. Ein breites Repertoire an Vokalkompositionen wurde im Format des Kammergesangs mit Klavier gestaltet und trug so zur Bildung von Identitäten bei - national, regional, lokal - und stärkte die Beziehung zwischen Kultur und Gesellschaft.

This album allows us to appreciate the versatility of the young artist Anna Urpina, whose goal was to approach each score from a historically informed perspective.

Modern performance of the Complete Recorder Sontas of Händel by the especialist David Antich and the famous Spanish ensemble MEDITERRÀNIA CONSORT. This recording of the complete Handel’s recorder sonatas is characterized by a newfangled, Mediterranean and daring reading; an exuberant continuo and improvised ornamentation are common elements in the all sonatas. Mediterrània Consort bases its performance on the constant search for the implicit affetti in this great work by the German composer.

Music of spiritual edification, music of mystical inspiration -almost an exercise in contemplation or adoration- that, following the words that the composer himself writes on the cover of the manuscript of the score, must be sung with the humblest devotion, wholeheartedly. (“humble Totius Cordis Devotione decantata”). In 1680 Buxtehude composes the cycle entitled Membra Jesu nostri, when Bach was not yet born. It was still almost 45 years before he wrote the first of two of his known passions, the St. John Passion. But with the composition of that music sheet, Buxtehude marks a before and after in the repertoire of music related to the Passion of Christ.

In the fifty songs we find in Carneriana, so carefully interpreted, David Alegret invites us dive into a poetic and musical universe that reveres life, that celebrates existence, and that expresses the beauty in the world look for sonorities, contrasts, and harmonies that can be reflected in song. What better answer than Carner’s poetry, Alegret’s placid, rigorous singing, and Fernández Aguirre’s wise pianism. And yet, the tenor and pianist did not settle for the more or less typical and predictable formulas, such as the Carnerian songs by Toldrà (which already play their own integral part), but also with living authors, to whom ad hoc compositions were requested for the production of this record. The music gathered in this album, which sings Carner’s poetry, allows us to be free and to be masters of ourselves and our time.

Señalado por la crítica como uno de los principales jóvenes talentos del panorama nacional español, el pianista Alejandro Algarra desarrolla una prolífica carrera como concertista, siendo habitual invitado de festivales, concursos, cursos y certámenes pianísticos de relevancia, nacionales e internacionales.Ha sido galardonado en concursos entre los que destacan el Concurso de Piano “Ciudad de Albacete”, el Concurso Internacional de Piano “Ria de Vigo”, el Premi “Amparo Fandos” de Torrent, el Concurso Internacional de Piano “Frechilla-Zuloaga”, el Barcelona Piano Academy, o el Concurso Internacional de Piano de Ibiza.Acaba de lanzar su trabajo discográfico “Chopin-Rachmaninov, Complete Preludes” con la prestigiosa productora discográfica IBS Classical. Es catedrático de Piano en el Real Conservatorio Superior de Música “Victoria Eugenia” de Granada.

Palatín belonged to a musical line that dates back to the 18th century and among whose members we find, for example, the creator of the first Spanish musical dictionary. He was born in 1852 in Seville (Spain). From a young age he showed great musical talent and mastery of the violin, so it was considered when he was only 12 years old, that he should continue his studies in what was then the best place to study violin, The Imperial Conservatory of Paris. There, he would study with Jose White and with Jean-Delphin Alard, Pablo Sarasate´s teacher. This would be possible thanks to a scholarship granted by the Excelentísima Diputación de Seville after having won the relevant competition. His compositions include 29 pieces for violin and piano, a concerto for violin and orchestra which is only the second Spanish Romantic concerto for violin as well as works for orchestra, choir, chamber music or solo piano adding up to a total of 89 works.

The album Falla 1915 offers us the opportuni- ty to experience a composer reborn through two of his masterpieces. In Siete canciones populares españolas, the orchestral imagination of composer Francisco Domínguez enriches the original piano accompaniment without losing any folkloric substance. The first version of El amor brujo rediscovers a title that was created to be much more jondo [deeper], rawer and with more gypsy soul than the ballet it later became. Passion and spirit, sensuality and colour come to- gether to highlight what Falla loved and de- fended most: the preservation of our memory and our cultural heritage.

Trascendo is a thrilling journey through that unknown dimension that blurs the contours of pain and then, guided by a wonderful repertoire for violin solo, heaven and earth come closer. The violinist composers who wrote the four intense, vibrant masterpieces of Trascendo give us their immense talent to show that beyond life there is music. Jonathan Mesonero gives us much more than a virtuous and masterful performance. Few musicians have the gift not to read, but to breathe the score, physically and mentally. He breathes the notes as if they were oxygen that sometimes enters lightly while some other times it is so pure it even hurts. He processes the bars in his bloodstream by sending them to each nerve ending until he becomes one with his violin to transform those notes into sounds full of magic. Listening to him means feeling. Is it not feeling, feeling intensely, what we all look for in music? In a time driven by flat images of perfect unreality, Trascendo is a tribute to our imperfect humanity, to our condition as mere mortals who sometimes are able to sublimate feelings until they become a pulse of the soul that is able to break through the barriers of this world.

Imitar col canto chi parla' ('imitating in song one who speaks'): that ideal, expressed by Jacopo Peri in the preface to his setting of Euridice, heralded a veritable revolution in vocal music, beginning with the experiments, towards the end of the sixteenth century, of the Florentine Camerata – a group of intellectuals and musicians led by Count Giovanni de’ Bardi, who aimed to revive the glorious art of ancient Greek tragedy. According to written accounts, the latter was sung, or spoken, in such a way that the words, while remaining intelligible at all times, were emotionally heightened. The members of the Camerata wished thus to break with the polyphonic madrigal tradition of the Renaissance and turn to accompanied monody, recitar cantando, thereby returning to the pre-eminence of the word as the means of conveying human emotions, with the music, henceforth subordinate to speech, serving to magnify and amplify it.