For this recording of Wagner’s Wesendonck-Lieder, Joyce DiDonato is joined by the original instrument ensemble Il Pomo d’Oro and Maxim Emelyanychev. "Bring that innocent, childlike sense of wonder to your craft, and do whatever you need to find that truth again. It will continually teach you how to be present, how to be alive, and how to let go. Therein lies not only your artistic freedom, but your personal freedom as well!"

Following their much-praised Schubert recording (‘the most thrilling account of Schubert’s last symphony’, BBC Music Magazine), Maxim Emelyanychev and the Scottish Chamber Orchestra are reunited for their highly anticipated second album on Linn, this time performing Mendelssohn’s Symphonies Nos. 3 & 5. Inspired by the natural beauty of Scotland – and what better way to celebrate SCO’s 50th anniversary in 2023 than the ‘Scottish’ Symphony! – No. 3 has a fiery character well suited for the ‘dynamic, energetic and exciting to watch’ conductor Maxim (The Guardian). Despite its numbering, No. 5 (known as the ‘Reformation’) is an early work which evokes the struggles and triumph of Protestantism. Its final chorale based on Luther’s much celebrated ‘Ein feste Burg’ draws the album to a reaffirming end.

Maxim Emelyanychev and Il Pomo d’Oro continue their uncommon Mozart symphony cycle. The idea is the following: put together great symphonies of the late Mozart and youth pieces. Maxim Emelyanychev, who has already gathered the first and the last symphonies – the beginning and the end –, has chosen to record the symphony no. 29 and the legendary no. 40 in the present volume.

When the composer Sergey Akhunov discovered the ground-breaking book of 1947, “Jazz”, by Henri Matisse – a collection of prints of his colourful cut-paper collages – he was struck by its almost surreal nature, and he conceived the idea of composing music with the title “Jazz”, but which, like Matisse’s book, has nothing to do with jazz. That inspiration finally took shape when Julia Igonina and Maxim Emelyanychev commissioned him to compose a work for them. The result was Jazz, a cycle for violin and piano: fifteen miniatures, bearing titles taken from the prints in Matisse’s book.