This first volume devoted to Arthur Vincent Lourié’s piano music traces his journey from the Debussian Impressionism of his youthful Cinq Préludes fragiles, Op. 1 through absorption of Scriabin’s chromaticism in the eerie Masques (Tentations) of 1913 to the near- Cubism of Formes en l’air.

Matthias Goerne selected twenty or so of the little gems lovingly fashioned by Schumann in the year of his marriage (1840) or in the darker Düsseldorf period (1849-52).

With its eloquent themes and ready climaxes, the Suite is one of Weinberg’s most intriguing scores to have survived the difficult early 1950s.

Both of these compelling works were written for string quartet plus clarinet by distinguished American composers who were pioneers in the Neo-Romantic movement.

Past centuries of Portuguese music have left a rich and varied legacy of repertoire inspired by various national and international aesthetic trends.

The works on this recording were written by four roughly contemporary Polish composers who settled and pursued their careers in different parts of the world.

Carl Czerny, one of Vienna’s most illustrious musicians, was Beethoven’s student and devoted friend.

Joan Manén, in his day almost as famous as his fellow Catalan Pau Casals, was an admired virtuoso violinist and a prominent composer.