It is possible that they either co-created this genre, or even that Fanny could have been the creator of the genre traditionally ascribed exclusively to Felix. This music, although wordless, is bursting with poetry and well-suited to the Conrad Graf piano from 1836 that Pashchenko chose for this recording.
The Graf piano, a brand favoured by Felix, has a recitative-like quality that Pashchenko uses to perfectly articulate the poetry inherent in these Lieder ohne Worte or as Fanny called them, Lieder für das Pianoforte.

Olga Pashchenko – piano 

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This series has already won numerous awards around the world and reaches its climax here with two of Sibelius’ greatest symphonies. Andrew Mellor writes in his introductory text that “we hear music carried by forms of gravitational energy reminiscent of those that govern the course of a river”.

Rouvali has also chosen to record eight extracts from Sibelius’ incidental music for Shakespeare’s The Tempest. First performed in March 1926, it is one of Sibelius’s final orchestral works and is certainly his most fascinating composition for the theatre.

Santtu-Matias Rouvali, Conductor
Gothenburg Symphony Orchestra

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Recorded live at the HR Recordings music room on a 1899 Bechstein piano.

John Bryden, Piano

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Published by Ricordi in 1880 it has become one of his most well known songs. Countertenor Miguel Ulla and Pianist John Bryden, present to the audience this particular piece. One of the last examples of the castrati era. (Alessandro Moreschi, the last castrati, sung this “Preghiera” many times and even recorded it).

Francesco Paolo Tosti dedicated it to “the most gentle Lady Mary Massimo”, in her loving memory.

Miguel Ulla, Countertenor
John Bryden, Piano

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What makes 1035 truly special is the integration of the Keybird’s MIDI capabilities, allowing me to connect and play two analog synthesizers directly through the instrument. This opens up an exciting realm of sonic possibilities, merging the organic warmth of an acoustic piano with the electronic textures of synthesizers. It’s a dynamic dialogue between the traditional and the contemporary, where acoustic sound meets modernity.

The album was recorded in the Westerkerk in Enkhuizen, a medieval church with stunning acoustics that add a sacred, resonant quality to each note. The church’s atmosphere allows the music to unfold naturally, enhancing both the delicate tones of the Keybird and the spacious textures of the synthesizers. It’s a setting that beautifully amplifies the blend of ancient and modern that runs through the heart of this album.

In 1035, I explore new frontiers of classical music through an innovative instrument. This journey uncovers the surprising ways in which music from centuries past can blend with modern technology, giving Bach’s sonata a fresh perspective while maintaining its timeless beauty.

Kristján Martinsson, Piano 

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“Music is not a hoax, it is a revelation… It reveals elements of beauty that cannot exist in any other sphere, the contemplation of which reconciles us to life not temporarily, but forever. It enlightens and brings joy.” These words of Tchaikovsky can refer to both of the works presented here.

Tchaikovsky called his Suite No. 3 the most successful of all his works performed abroad and successfully conducted many performances of it on tours. For Dmitry Liss, the chief conductor of the Ural Philharmonic Orchestra, “this is one of the most unexpected works by Tchaikovsky and my near-favorite.”

If you look at the final movement from a modern perspective, its hectic stylistic diversity looks almost post-modernist and has been created with subtle and stylish use of irony. The theme of the Suite’s finale is consonant with that of the Rococo Variations, hence our decision to include both works on this album.

”The world-renowned cellist Boris Andrianov performs the Variations on this recording. He considered it “a sacred duty for a Russian cellist who is also a winner of the Tchaikovsky competition not only to record this work, but also to look at it anew.”

Ural Philharmonic Orchestra
Dmitry Liss, Conductor
Boris Andrianov, Cello

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The album features the ensemble performing music composed by Christopher Cerrone. This is a decade-long journey through sound, collaboration, and innovation. From the first sketches of Goldbeater’s Skin in 2015 to the final touches on Ode To Joy in 2023, these works reflect Cerrone’s deep connection and friendship with Sandbox Percussion.

Opening with Don’t Look Down (2020), a work born during the pandemic, the album blends traditional percussion with found objects and prepared piano. A Natural History of Vacant Lots (2017) explores space and sound, positioning ambient and beautiful colors against a haunting electronic backdrop. The centerpiece, Goldbeater’s Skin (2016), pairs percussion with the human voice in a stunning setting of GC Waldrep’s poetry.

The album closes with Ode to Joy (2023), a bittersweet celebration of New York City, filled with whistles, harmonicas, and stomping rhythms. Every unique sound on this album was meticulously crafted, shaped by Cerrone’s longtime collaborator and producer Mike Tierney.

In summary, Don’t Look Down is a bold exploration of the endless possibilities of percussion, this album is a testament to the evolving power of music and collaboration.

Sandbox Percussion
Jonathan Allen
Victor Caccese
Ian Rosenbaum
Terry Sweeney

Guest Musicians
Conor Hanick, Piano (“Don’t Look Down”)
Elspeth Davis, Mezzo-Soprano (“Goldbeater’s Skin”)

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Martien Oster, Guitar
After his studies in the US. and in the course of 35 years, Martien performed and recorded with a variety of outstanding Jazz players: Monty Alexander, Red Holloway, Diana Krall (her first record!) and Dr. Lonnie Smith. Martien’s style of playing is clearly rooted in the Jazz tradition but at the same time he is always looking for adventure!

In 2016 he toured Europe with legend Larry Coryell who described Martien’s playing as intelligent and soulful. In 2019  Hammond organ player Mike le Donne and Vincent Herring joined Martien for a new edition of ‘Original Grooves’ playing the major clubs in Germany and Holland.

István Gyárfás, Guitar
‘Excellent guitarist, excellent style, excellent sense of humor, excellent person. All this to the glory of God. This is Gyafi. This is why we all love him so much.’

Zoltán Oláh, Double Bass
Zoli is a very talented bass player with whom Gyafi has an almost symbiotic relationship. The two can read each others mind and that provides me with a warm bath to step into musically speaking. Zoli has a classic sound and ‘solid time’, two characteristics you really need without a drummer.

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For some reason, I have always had a bit of nostalgia for the Soviet Union, which is strange, because I was born after it had already fallen. Still, when I read books like Doctor Zhivago or The Master & Margarita, when I see films like Stalker or Cherry Town, when I listen to composers like Mieczysław Weinberg, Alfred Schnittke, Sofia Gubaidulina and Dmitri Shostakovich, it somehow seems familiar to me. When I discovered Sergei Protopopov’s music, I felt the same sense of acquaintance and familiarity. Even though his compositions are dark and brooding, I find a strange kind of comfort in them. As is the case with all great composers, it is almost impossible to categorize Protopopov. People still try and describe his style as “Russian modernism”, “Soviet avant-garde”, or “Scriabinism”. Ultimately, his music is a category on its own.

When I learnt about Protopopov a few years ago, I wished I had gotten to know it sooner. However, he was not well-known at all; a lot of his music was never even recorded. I wanted to change that. Once I got to know his heart-breaking life story, marred by oppression and sabotage, I was even more convinced that someone had to do something about it. That’s why I decided to dedicate the third and final album in the Eclipse series to the music of Protopopov.

Mattias Spee, Piano

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The album is a beautiful and, at times, delicate work filled with subtle colors and emotional depth, yet interwoven with moments of vehement drama. Lex Jasper’s piano takes center stage, gracefully complemented by Vincent Koning’s guitar, Frans van Geest’s bass, and Gijs Dijkhuizen’s drums. The chemistry within the quartet is unmistakable, creating a profound experience with every note—this is musical mastery in its purest form.

The magical atmosphere of the legendary Vara (MCO) Studio 2, with its warm acoustics, coupled with the superb recording and production techniques of Sound Liaison, brings every nuance of this live performance to life. Available at NativeDSD in Stereo DSD 512, DSD 256, DSD 128, DSD 64, DXD and PCM 768k from the PCM768k Edit Master source. 

“The wise musicians are those who play what they can master”.- Duke Ellington

Lex Jasper has enjoyed a remarkable career, performing alongside legends such as Shirley Bassey, Toots Thielemans, Stéphane Grappelli, and Joe Pass. As well as conducting, arranging, and composing for the renowned Metropole Orchestra.

Lex Jasper Quartet
Lex Jasper, Piano
Vinsent Koning, Guitar
Frans van Geest, Double Bass
Gijs Dijkhuizen, Drums

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