The baritone Matthias Goerne, the Orchestre Philharmonique de Radio France and Mikko Franck launch a trilogy of Shostakovich’s works for baritone and orchestra with a recording of Symphony No.14. This will be followed by Symphony no.13 (Babi Yar ) and the Suite on poems by Michelangelo Buonarroti . The soprano Asmik Grigorian joins Matthias Goerne for this monumental yet highly subtle symphony setting poems by García Lorca, Apollinaire, Küchelbecker and Rilke.

From Biber’s famous ‘Guardian Angel’ Passacaglia to Guillemain’s ‘Amusements’ and sonatas and fantasias by Matteis (father and son), Pisendel and Vilsmayr, Isabelle Faust offers us a panorama of European music for unaccompanied violin from the second half of the Baroque era. Dreamy or virtuosic, these pieces bear witness to the diversity of inspirations from Italy, France, England and the German-speaking countries - and to their marvellous intermingling echoes.

After the six Op. 18 quartets, the much-acclaimed Chiaroscuro Quartet now turns to two masterpieces from Beethoven’s middle and late periods. String Quartet No. 10 in E flat major, Op. 74, nicknamed ‘Harp’ because of the abundant pizzicati in its first movement, comes across as a genial and unproblematic work that was very well received immediately upon publication and has remained one of the composer’s best-loved quartets.

Ravel composed his Piano Trio M67 j ust before enlisting voluntarily in the First World War. Inspired by the Basque country and its zortziko dance, the Trio ends with a sombre, almost anguished fourth movement. A mood inspired by the impending war? In his Piano Trio No.2 , op.67 , Shostakovich too is affected by the horrors of war and the death of a close friend. For the first time in the Russian composer’s output, we hear a Jewish theme, a danse macabre echoing the terrible events of the time. Another point in common between the two works is that both include a passacaglia. For the Busch Trio, it was self-evident that these two heart-rending works should be brought together on the same album.

How often do you walk into a situation without knowing what will happen? Do you fear it? Or do you embrace it? The unknown is a ubiquitous phenomenon that can be found in the essence of a person, place, or thing. Many musicians welcome musical situations where they are unaware of what will happen. That could be during improvising or performing with musicians for the first time. Both take an incredible amount of vulnerability and trust. The unknown seems to drive them into a space and time that controls them, not the other way around. And more than likely, that’s what they want it to do. Musicians prefer the unknown to utilize them as vessels to reach their audience or even to experience their own liberation.

As an instrument from Italy, one that was exotic and evocative of Mediterranean atmospheres, the mandolin was very much in fashion in France until the end of the Century of Enlightenment: a fact also confirmed by many iconographic and musical sources. Pizzicar Galante, an ensemble that stands today as a benchmark for the interpretation of the galant literature for mandolin and continuo, has been acclaimed for the “finesse, creativity and spirit” (Olivier Fourés, Diapason) and “communicative energy” of its performances (Sébastien Llinares, France Musique). For its second recording with Arcana, it offers a compilation of the finest music played during the veritable “golden age” enjoyed by the mandolin in Paris from the 1760s to the Revolution. It is a rare and unexplored repertoire in which the dazzling virtuosity of Anna Schivazappa, a specialist in historical mandolins, dialogues with the beguiling and charismatic voice of Marc Mauillon.

Ronnie Lane is one of the finest songwriters the UK has produced. This is the first time that comprehensive look at Ronnie's post Faces career has been undertaken. In many ways, Ronnie Lane remains an enigma in the story of rock 'n' roll. An artist who was determined to chart his own destiny and break free from the demands of the music "business". His sense of disillusion with the rock 'n' roll lifestyle led him to leave his hugely successful band for a ramshackle country farm and a life on the road. He would create The Passing Show - a now legendary circus tent tour of the country with assorted clowns, acrobats and comedians. Ronnie created a sound and style that leaned heavily on an array of influences particularly folk, country music and later R&B with welcome contributions from the band of musicians he surrounded himself with.