Imogen Cooper returns to Avie with the first in a series of three double CDs, recorded live at the Queen Elizabeth Hall in London, exploring the late piano music of Schubert written between 1823 and 1828. Having spent several years at the Paris Conservatoire in her teens, Cooper went to Vienna to study with Paul Badura-Skoda, Jörg Demus, and Alfred Brendel, the pianist often seen as her mentor.

Featuring three cantatas based on the form of the Ciaccona, this is one of the best albums released by Françoise Lasserre, who comes back to Bach after studying Schutz and Monteverdi.

A collection of some of the most beautiful choral music of the 20th and early 21st centuries. Adoramus Vocal Ensemble is the resident chamber choir of First United Methodist Church in Fort Worth, and has developed a loyal following based on excellent choral technique and adventurous yet accessible programming.

Isaac Albéniz was a man of contrasts: self-disciplinary and reckless, miserly and extravagant, cerebral and sentimental. With Iberia, he attempted to capture the natural flow of ideas in a rational pattern as the romanticist and classicist in him engaged in a never-ending struggle. The true quality of this music lies in the originality with which Albéniz was able to blend varied elements—Andalusian flamenco and Parisian impressionism—and the remarkable power of imagination he demonstrated in the process.

The German Brass ensemble aspires to repeat the success of its debut, Bach 300, and of the CD Bach 2000. Bach’s music brings together two elements: the aural dimensions of a full organ and the subtle transparency of polyphonic music. Who could better demonstrate these apparently conflicting elements than German Brass!

J.S. BACH: 14 transcriptions for brass ensemble of favorite works and excerpts, including the Brandenburg Concertos, The Well-Tempered Clavier, organ works, etc.