Uploaded July 2026 | Updated September 2026, 2 weeks ago
Sarabande, for harpsichord and orchestra (1950)
Denyse Gouarne, harpsichord
Orchestre Des Cento Soli
Ataulfo Argenta
Art by Eva Navarro
Sarabande, for harpsichord and orchestra (1950)
Denyse Gouarne, harpsichord
Orchestre Des Cento Soli
Ataulfo Argenta
Art by Eva Navarro

![Ernst Toch - Concerto for Cello and Chamber Orchestra
Concerto for Cello and Chamber Orchestra, Op. 35 (1925)
I. Allegro assai moderato
II. Agitato [10:30]
III. Adagio [13:58]
IV. Allegro vivace [21:29]
Frédéric Mottier, cello
The Forum Group
Fred Barth
The Cello Concerto was written for a competition sponsored by Schott Publishing Company. Toch composed it quickly, between October and November 1924, in good time for the competition in 1925 (he’d already won the 1924 competition with his Divertimento for Violin and cello). Dedicated to the cellist Maurits Frank it was premiered by Emanuel Feuermann in July 1925 and so popular was it that the cellist performed it about sixty times in Germany in the next eight years, with conductors such as Klemperer in Berlin and Monteux in Amsterdam. Scored for a chamber orchestra it features the soloist in a primus inter pares role in a work that is a microcosm of contemporary compositional technique. Metres are constantly changing and there is a weight of complex rhythmic difficulty. Whilst the four movements are very broadly classical in design this is no neo-classical jeux d’esprit. Instead it’s a tough, densely argued work the opening movement of which sets the scene for much that is to follow; quixotic harmonies and instrumentation; a novel role for the protagonist, a perplexing air of indistinctness until a solo horn announces a new direction and the movement ends in the cello taking up a romanticized theme. The rather galumphing scherzo (Sorcerer’s Apprentice meets Stravinsky) has a second subject announced by the horn in bold fashion encouraging a scurrying cello until, abruptly, the music seems to end in mid-air. The cello by contrast spins a long cantilena line in the Adagio, laden with an expressive depth that signals that this is the central point of the work and its heart beat. In the finale, which again broadly conforms to the classical formula, a stern figure threatens to turn into a fugato before first ominous percussion and ostinato strings drive the argument still further, embracing a crookedly humorous passage and decisive conclusion. Jonathan Woolf
Art by Þorlákur Kristinsson Ernst Toch - Concerto for Cello and Chamber Orchestra](https://i.ytimg.com/vi/nlJhK9opyCg/mqdefault.jpg)

![Roland Dahinden - Theatre of the Mind
Theatre of the Mind (2023)
Gareth Davis - bass clarinet, field recordings, recording, mixing
Mikuláš Mrva - electric bass, sound diffusion, recording, mixing
Theatre of the Mind was commissioned by the Dutch Foundation Mousai, an organisation that uses contemporary music as a platform to explore and work with issues of mental health. It was written for bass clarinettist Gareth Davis.
Rolands composition takes elements of his mixed background performing in jazz and improvised combinations with Miles Davis and Anthony Braxton while at the same time working with John Cage, Alvin Lucier and other contemporary composers over the last 40 years.
The work uses different forms of notation, jazz and improvised influences and extended instrumental techniques as part of its musical language, thematically attempting to capture the layers and process of mental thought and how they interact with patches of partially remembered ideas. Struggles with mental health have become increasingly pronounced over the last few years.
In this work the idea of the sensation of being locked in to ones thought process are juxtaposed with memory and remembering and how memory recreates constantly, creating ever-changing backdrops which can in some cases lead to inspiration while in others can be the cause of confusion and struggle with surroundings. A recurring theme when speaking to those suffering from mental health difficulties was the sensation of the contrast between the heightened mental activity, with a sense of almost physical (or in the case of Parkinsons Disease, actual physical) decay of the rest of the body.
Theatre of the Mind is a soundscape influenced not by a vision of surroundings but rather as an impression of the internal process of the mind, the constant ongoing narrative between memories, ideas, possibilities, and tasks. [MFRC010]
Art by Francis Bacon Roland Dahinden - Theatre of the Mind](https://i.ytimg.com/vi/oIjZQABSY7U/mqdefault.jpg)
![Mika Martini & Edén Carrasco - Estrellas transcompactas
Estrellas transcompactas (2006)
Estrellas transcompactas es una improvisación libre con base en el tema Estrellas compactas del compositor electroacústico Federico Schumacher, obra publicada en el disco 50 años de música electroacústica en Chile (Fonmus/Laim/Pueblo Nuevo) y en el dvd [In]disciplina (Pueblo Nuevo). La performance fue realizada y grabada en vivo en el festival Compatible 2.1 / TransAcústico, en Santiago de Chile, noviembre de 2006.
Art by Frederic Edwin Church Mika Martini & Edén Carrasco - Estrellas transcompactas](https://i.ytimg.com/vi/ovPfxnyvaQA/mqdefault.jpg)

![Helmut Zapf - Approximation
Approximation, for string trio (1996)
Trio 1
Trio 2 [11:38]
Finsterbusch Trio
Art by Tschabalala Self Helmut Zapf - Approximation](https://i.ytimg.com/vi/pTwPCYxq6L4/mqdefault.jpg)
![Toshiro Mayuzumi - Music with Sculpture
Music with Sculpture (1961)
Eastman Wind Ensemble
Donald Hunsberger
Music with Sculpture is one of five works by Mayuzumi commissioned by the American Wind Symphony. The score requires a large wind ensemble, with special emphasis on the exploration of individual woodwind tone colors. This composition, alternately delicate in nature and overwhelming in its power, is a series of tonal sculptings highly sectional in content. Each short period establishes a basic texture and presents this quality in a manner which offers contrasts between the woodwinds and brasses. Tonal in harmonic content, the work makes use of tone clusters within individual family sections offset by clearly stated individual solo tone qualities. Carefully woven as a fine tapestry, Music with Sculpture is distinctive through its very definite tone colorations in its primarily restive nature. [Deutsche Grammophon – 2530 063]
Art by Kenneth Armitage Toshiro Mayuzumi - Music with Sculpture](https://i.ytimg.com/vi/r8YkMipPTgY/mqdefault.jpg)


