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 Ulysses Arts releases the première recording of Phillip Cooke's Four Marian Antiphons on 31 March 2023, performed by the Caritas Chamber Choir directed by Benedict Preece. Four Marion Anthems 1. Ave Regina Caelorum 2. Salve Regina, Mater misericordiae 3. Alma Redemptoris Mater (pre-release on 10 February) 4. Regina Cœli (pre-release on 3 March)  Phillip Cooke Released in partnership with Platoon. Streaming and download links will be published here on release day.
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  Fr. Ivan Moody Fr. Ivan Moody was born in London in 1964. He studied music and theology at the Universities of London, Joensuu and York (where he took his doctorate). He studied composition with Brian Dennis, Sir John Tavener and William Brooks. He has worked with soloists and ensembles of world renown, such as the Hilliard Ensemble, Singer Pur, Trio Mediaeval, the Tallis Scholars, the English Chamber Choir, Cappella Romana, New York Polyphony, the Regensburger Domspatz, Singcircle, Lumen Valo, Tapestry, Cappella Nova, Ars Nova Copenhagen, the Taverner Consort, Fretwork, the Raschèr Quartet, Raphael Wallfisch, Suzie Leblanc, Artur Pizarro and Paul Barnes. Over the years he has written a series of substantial choral and choral-instrumental works, including Passion and Resurrection (1992), Revelation (1995), Akathistos Hymn (1998), The Dormition of the Virgin (2003), Passione Popolare (2005), Ossetian Requiem (2005), Moons and Suns (2008), Stabat Mater (2008), Qohelet (2013) and Stephans-Weihnacht (2019). Instrumental music includes a series of concertante works for viola, cello, recorder, double bass, piano, harp, tuba, bass clarinet and marimba, and many works for chamber ensembles (notably the piano quartet Nocturne of Light, from 2009) and solo instruments. Ivan Moody is also a conductor and musicologist; his book Modernism and Orthodox Spirituality in Contemporary Music was published in 2014. He is a Researcher at CESEM—Universidade Nova, Lisbon, and a priest of the Orthodox Church.   American violinist and viola player Davis Brooks records all the parts in the music on album Lines from Poetry, released by US label Ablaze Records on 10 March 2023, featuring composers Filipe Leitão (Brazil), Richard Einhorn, Ronald Caltabiano, Frank Felice (USA), Balee Pongklad (Thailand/USA).  Davis Brooks 'It become commonplace for many artists to produce a “covid project,” - this is mine. The Pandemic gave me the opportunity to collaborate personally with five composers in recording their music, resulting in a wide assortment of musical styles. Two works, String Samba and Two by Four, were projects enabling me to explore performing and recording all the parts, enabling me to control every interpretive and technical variable. String Samba originally was intended to be performed by a traditional string quartet, but Filipe and I were intrigued by the possibility of a three violin and viola format. In addition to the original scored notation, I recorded additional ponticello and pizzicato effects and the piece was reinvented anew. The recording of Two by Four, like String Samba, became a late-night home studio project. Having been part of the première of Two by Four in 2004, I simply wanted to record a version where I played all of the parts, and to see where my own interpretation might go.' (Davis Brooks)  Download and streaming links will be published here. Electronic press kit available for press use. 
Stream on Apple Music or download in iTunes - click above
Tota pulchra es is a 1,600 year old Roman Catholic prayer, meaning 'You are completely beautiful', referring to the Virgin Mary. It glorifies her immaculate conception, and takes its text from the Bible's Book of Judith and Song of Songs.
It has inspired great composers for centuries, from Guillaume du Fay and Heinrich Isaac in the late Middle Ages, through Schumann, Bruckner, Pablo Casals, Duruflé and Gorczycki to contemporaries such as Sir James MacMillan and Ola Gjeilo: Neil Wright's new settting revels in the opportunity for musical beauty and spiritual yearning. Tota pulchra es is Wright's debut commission and recording with Caritas Chamber Choir. Studying the Royal Northern College of Music, as an organist, composer and improviser, he has performed throughout the UK (including Cadogan Hall; Westminster Central Hall) and in Germany (Dresden Cathedral, Stuttgart-Schondorf Orgelnacht, Friedenskirche Potsdam, Maria Laach Abbey), USA (Carmel Valley California), Italy (Tagliacozzo Festival, Cremona Cathedral), Finland (Åland Orgel Festival) and France (Vannes Cathedral, Eglise de La Trinité Paris).
Caritas Chamber Choir, based in Canterbury, UK, is one of the world's leading commissioners of contemporary choral music, performing frequently around the UK and Europe, directed by Benedict Preece, a Genesis Sixteen Conducting Scholar.
Streaming and download links:
Released in partnership with Platoon.
 Pioneering US contemporary music label Ablaze Records releases the tenth album of its innovative Orchestral Masters series worldwide on 17 March 2023. Performed by the Royal Scottish National Orchestra conducted by Mikel Toms, it features music by composers from the USA (Edward Smaldone, Jeffrey Holmes, Jason Phillips), Cem Güven (Turkey/UK), Fang Ke and Zou Hao (China/USA) and Hojin Lee (South Korea/USA). Pre-order and streaming links will be added here.  
John Kelley's When You are Old is an atmospheric setting of W.B. Yeats’ famous poem: its retrospective nature is a perfect work to precede the New Year, performed by the Caritas Chamber Choir conducted by Benedict Preece.
American composer John Kelley studied at Yale University and is a lay clerk at Grace Cathedral, San Francisco. His setting of When You are Old won the 1997 National Award for Schirmer’s Young American Choral Competition; it is performed annually by Redhot & Blue, Yale University’s world-renowned mixed a capella ensemble.
Caritas Chamber Choir
Links to listen or download on digital service providers will be posted here on 30 December.
  The Tailleferre Ensemble The Tailleferre Ensemble, founded in 2019 by Nicola Hands and Penelope Smith, is a UK-based chamber collective whose principal aim is to promote women in music. The group is a flexible chamber ensemble of varying line-up who perform works of diverse instrumentation and genre, from works by established composers to those that are lesser-known and contemporary. As a group they have been praised for their fine performances and ‘extensive palette of timbres’, and they work to redress the balance of works performed by men and women composers in classical music. The Ensemble has performed across the country since its inception, ranging from prestigious venues and chamber music festivals to local chamber series, and have also collaborated with other groups. In 2021 they were grateful to receive funding from the Ambache Charitable Trust to make recordings of works by Cecilia McDowall and Rhian Samuel. In 2022 they were invited to perform for a production of the under-played Mass in D by Ethel Smyth. Since then, they received further invitations to collaborate on similar performances. This album is the group’s first recording, exemplifying their work, featuring music from various historical periods and for different ensemble sizes. Of particular note is the première recording of Sonate Champêtre by the group’s namesake, Germaine Tailleferre: they are very pleased to be sharing this work in recorded form for the first time. Another piece they are glad to introduce is the première of Little Duos by Rhian Samuel, dedicated to the group’s founders Nicola Hands and Penelope Smith. Most of the album comprises works by living composers, but lesser-known pieces from further back, by Röntgen and Hoffmann, also feature. There are Things to be Said by Ingrid Stölzel inspired the album’s title, evoking concepts of loneliness and struggle but also reflects the hopefulness, determination and creativity of this new chamber collective. ALBUM DETAILS Germaine Tailleferre, Sonate Champêtre (première recording) I. Allegro moderato II. Andantino III. Allegro vivace: Gaiement Ingrid Stölzel, There Are Things to be Said (2009) Bill Douglas, Three Lyrical Pieces I. Wings of the Wind II. The Hills of Glencar III. Autumn Song Jenni Brandon, Metamorphosis * I. Vulnerable II. Evolving III. Transformation IV. Rebirth V. Transfiguration VI. Breaking through the mold VII. Regeneration VIII. Emerging IX. “The metamorphosis excites in the beholder an emotion of joy…” * First performance and recording by Dr Lindabeth Binkley (oboe) with Dane Philipsen (oboe) and Mary Jo Cox (piano) on Dr. Binkley’s album FROM EARTH AND SKY: MUSIC OF JENNI BRANDON on Blue Griffin Record label in 2020. Rhian Samuel (première recording), Little Duos for oboe and cor anglais I. Morning Glow II. Whispers III. Sentries Cecilia McDowall, Century Dances: Trio for oboe, clarinet and bassoon I. Allemande II. Menuet – ghost dance III. Mazurka IV. Tango V. Last Dance Melchior Hoffmann, Trio Sonata in C minor I. Adagio II. Allegro III. Adagio IV. Vivace Julius Röntgen, Trio for Flute, Oboe and Bassoon in G Major, Op. 86 I. Allegretto con Spirito II. Poco andante, quasi una fantasia III. Allegretto The Tailleferre Ensemble Emma Halnan and Nicola Crowe, flute Nicola Hands and Penelope Smith, oboe / cor anglais Jennifer Dunsmore and Helen Pierce, clarinet Amy Thompson, bassoon Lana Bode, piano  Penelope Smith and Nicola Hands Electronic press kit available for reviewers.  Philip Sawyers (b. 1951) Kenneth Woods, conductor NI 6436 Double Concerto for Violin and Cello 1. I. Allegro moderato 2. II. Andante 3. III. Allegro vivo Daniel Rowland, violin • Maja Bogdanović, cello English Symphony Orchestra • Zoë Beyers, leader 4. Remembrance for Strings English String Orchestra • Emily Davis, guest leader Concerto for Viola and Orchestra 5. I. Allegro 6. II. Andante 7. III. Allegro moderato Daniel Rowland, viola English Symphony Orchestra • Zoë Beyers, leader 8. Octet English Symphony Orchestra soloists 'In 2009 I was commissioned to write a cello concerto by the Sydenham International Music Festival for one of their rising stars, Maja Bogdanović. Since her musical and personal connection with the amazing violinist Daniel Rowland, it had been in my mind to write them a double concerto. Overshadowed by the famous Brahms Double Concerto, this was a somewhat daunting task. It is a piece which reflects ideas of journeys which develop initial ideas as the music unfolds and unlike previous concertos, there is no first movement cadenza. In 2020-21, a friend and colleague asked me if I would write a piece to mark the loss of his mother. He also wanted it, in some way, to be for both of his late parents. He told me how fond of my tone poem the Valley of Vision she was, so I ‘hid’ a few quotations from that piece in the new one. He also requested something akin in mood to Elgar's Elegy for Strings. The resulting composition, I hope, meets all these wishes. The viola concerto was written in 2020. The idea came after attending recording sessions and performances of a double concerto for violin, viola and string orchestra by my fellow composer and friend David Matthews. The lovely playing of the viola part by Sarah-Jane Bradley set off some ideas for a viola concerto of my own. In 2007 the mixed chamber music ensemble ‘Liquid Architecture’ commissioned me to write them an octet for their appearance at the Chelsea Schubert Festival. The Schubert Octet was on their programme so the instrumentation was pre-determined: clarinet, horn, bassoon, two violins, viola, cello and double bass. The piece is in one continuous movement in four sections: Adagio, Allegro, Andante and Allegro.' (Philip Sawyers) This is the sixth title available in the Philip Sawyers series available on Nimbus Alliance.  Electronic press kit available for review use.  Jonathan Dove: In Exile Lyrita SRCD.413 Sir Simon Keenlyside, baritone Raphael Wallfisch, cello City of Birmingham Symphony Orchestra Gergely Madaras, conductor Jonathan Dove, piano * World Première Recordings In Exile 1. - Cello alone I 2. Daybreak again 3. The first arrow the bow of exile will shoot 4. See, cold Island, we stand 5. I left that land wretched Listen to me 6. - Cello alone II 7. If I were an ear of corn 8. - Cello alone III 9. Unclean 10. Where have the horses gone? 11. My grief on the sea 12. Night Song, for cello and piano * The idea of writing a cello concerto for Raphael Wallfisch was first mooted more than ten years ago at the Banff Arts Centre, Canada, where Jonathan Dove was composer-in-residence. The two men spoke of Dove’s interest in writing a piece for cello and orchestra, and after further meetings in London, the work began to take shape. Given the composer’s extensive experience of writing for the voice, it was decided that the score would be written for baritone singer and solo cello with orchestra with texts taken from poems by various writers. The subject matter was suggested by the Wallfisch family history. Raphael’s father fled, together with his mother and brother, to Palestine from Breslau in 1937, and his mother, Anita Lasker-Wallfisch, is a concentration camp survivor. She has written of the persecution of her Jewish family during the Second World War and her own incarceration in Auschwitz and Belsen, where her skill as a cellist saved her life. Knowing of these events, Jonathan Dove was inspired to base the work’s theme on the universal experience of refugees being exiled from their homeland. In Exile was premièred at the George Enescu Festival on 3 September 2022, followed by a performance in Bucharest on 5 September. Scored for baritone, 'cello and orchestra, Jonathan Dove writes of the piece: ‘In Exile moves through a day in the life of an involuntary exile: waking alone in a foreign land; remembering the moment of banishment, the moment of departure, the voyage; remembering the homeland. The Exile feels the pain of being so far away in his country’s time of need, unable to help his own people. He remembers all the names he has been called in this strange land. He thinks of all he has lost, and longs for home. The spine of Alasdair Middleton’s libretto is from a 10th Century manuscript, The Wayfarer, by an anonymous old English author. Voices from across the ages flesh out a composite portrait: a single line of Shakespeare recurs among lyrical verses by Dante, Emily Lawless, Kahlil Gibran, Kaveh Bassiri and Douglas Hyde. The theme of exile was suggested by the history of the Wallfisch family, and is dedicated to Raphael’s mother, Anita Lasker-Wallfisch, who has told her story in her book Inherit the Truth 1939-1945: The Documented Experiences of a Survivor of Auschwitz and Belsen. In Exile fuses elements of operatic scena and concerto, the two soloists expressing complementary aspects of the same character. In Raphael Wallfisch’s words: ‘the cello represents the soul and spirit of the Exile, the baritone is that person and sings the dramatic and often challenging texts. Jonathan’s lyrical style lends itself so naturally to the cello. He exploits every register from the lowest to the highest notes. The cello comments on the sung texts'. (Paul Conway) Night Song, a short piece for cello and piano is derived from the final section of In Exile. In the calm closing moments of the work the baritone sings of his loss in the words of the poet Douglas Hyde : My grief on the sea, / How the waves of it roll - / For they heave between me / And the love of my soul. Night Song was written partly at the request of the Rachel Baker Memorial Charity – who commissioned the orchestral work – and partly in response to the strong reaction of the first audiences who connected with this uncomplicated musical expression. The spine of Alasdair Middleton’s libretto is from a 10th Century manuscript, The Wayfarer, by an anonymous old English author. Voices from across the ages flesh out a composite portrait: a single line of Shakespeare recurs among lyrical verses by Dante, Emily Lawless, Kahlil Gibran, Kaveh Bassiri and Douglas Hyde. The theme of exile was suggested by the history of the Wallfisch family, and is dedicated to Raphael’s mother, Anita Lasker-Wallfisch, who has told her story in her book Inherit the Truth 1939-1945: The Documented Experiences of a Survivor of Auschwitz and Belsen. In Exile fuses elements of operatic scena and concerto, the two soloists expressing complementary aspects of the same character. The solo cello is the alter ego of the baritone, ranging above and below his voice, able to take his song down into the depths and up into the heights. Sometimes the soloists hand over to each other, complete each other’s sentences, so to speak; sometimes they duet and counterpoint.  Ulysses Arts releases Canterbury-based Caritas Chamber Choir's first Christmas album, directed by Benedict Preece, on 25 November 2022. Christmas with Caritas features traditional carols in new arrangements with première recordings of contemporary works by Phillip Cooke, Sarah Cattley, Graham Patterson, Anthony Esland, Eric Choate, Stewart Duncan and Simon Beattie. Click to download on iTunes or stream on Apple Music 
Download on iTunes or stream on Apple Music: click above
Christmas with Caritas is preceeded by two singles from the album:
Phillip Cooke, I Sing of a Maiden - 28 October Sarah Cattley, What Child is this? - 11 November
Album Details Tradition (arr. Benedict Preece), O Little Town of Bethlehem Lyricist: Phillips Brooks Sarah Cattley, What Child is this? Lyricist: William Chatterton Dix Graham Patterson, Sweet was the Song Lyricist: Anonymous/Graham Patterson Traditional (arr. Benedict Preece), Ding Dong Merrily on High Lyricist: George Ratcliffe Woodward Sarah Cattley, The Robin Carol Lyricist: Sarah Cattley/Traditional Phillip Cooke, I Sing of a Maiden Soloists: Christina Bosanko, Christina Astin, Peter Ellis, Graham Titus Lyricist: Anonymous Phillip Cooke, Susanni Soloists: Catherine Futcher, Bob McKay Lyricist: Traditional Franz Gruber (arr. Phillip Cooke), Silent Night Lyricist: Joseph Mohr, John F. Young Sarah Cattley/Michael Praetorius, A Spotless Rose Soloist: Peter Ellis Lyricist: Traditional, Catherine Winkworth Graham Patterson, Balulalow Lyricist: Wedderburn brothers Anthony Esland, The Bee Carol Lyricist: Carol Ann Duffy Traditional (arr. Eric Choate), Bring a Torch, Jeannette, Isabella Lyricist: Anonymous Stewart Duncan, There is no Rose Lyricist: Anonymous Lewis Redner (arr. David Conte), O Little Town of Bethlehem Soloist: Sally-Anne Hanson Lyricist: Phillips Brooks Simon Beattie, Advent Calendar Lyricist: Rowan Williams Alex Heffes re-releases his album Face to Face (PLAT14823) on 7 October 2022, re-mixed in stereo and Dolby Atmos, and with new material, including for the first time on many digital sites: click here to discover more.
Face To Face is an album by Alex Heffes featuring collaborations with Matthew Barley, Tunde Jegede, Kawesa, Yasmin Levy, Ryuichi Sakamoto and Regina Spektor. Each track was improvised from scratch on the day of recording and features Alex on keyboards with one guest. Sessions were recorded in a series of spectacular locations including the giant ‘Turbine Hall’ of the Tate Gallery in London at night time (Matthew Barley), an empty glass roofed warehouse in the Bronx (Regina Spektor), Abbey Road’s legendary Studio 2 (Tunde Jegede) and on a hilltop overlooking Uganda’s capital city Kampala (Kawesa).
Alex comments: 'For years people asked me many variations of one particular question: “Where does your inspiration as a composer come from?” This inspired me to make a record - one that was entirely improvised - nothing prepared in advance. I chose six inspiring collaborators to record in six inspiring locations. My task: to commit to whatever happened in that space on that day, and make a piece of music. Face To Face is my answer to this question." Why now? The 2022 mix celebrates ten years since the original release. The album has been fully re-mixed and mastered in stereo and Dolby Atmos to immerse the listener even more vividly into the atmosphere of the original sessions. The bonus track ‘Helios Rising’ has been newly included on the 2022 mix from the Abbey Road / Tunde Jegede sessions. Face To Face was recorded and mixed by Grammy winning engineer and producer Peter Henderson and was captured on photo and film by photographer Rama Knight. Alex Heffes on Apple Music Classical playlists
More streaming links for the album and for pre-release singles will be posted here.
Download Neo on iTunes or stream on Apple Music: click above
Inspired by Neoteric Ensemble's fresh approach to classical and jazz fusion, Neo takes a shouty melodic line and weaves it through punchy rhythmic statements and raspy textures. Improvised brass and saxophone solos contrast with rich tutti passages, exploring the expressive energy, dynamism and creativity of this exciting new ensemble comprising some of the UK's leading brass and saxophone players.
This is Ulysses Arts' second single release from Neoteric Ensemble, following Rob Buckland's Mojito, both featuring in an upcoming album in autumn 2022. 
Neoteric Ensemble
ABLAZE RECORDS RELEASES ORCHESTRAL MASTERS VOL. 8 AND TREMOR, WITH ROBERT NAIRN, IN MARCH 202224/2/2022 US-based contemporary classical label Ablaze Records releases Orchestral Masters Vol. 8 on 11 March 2022 with the Brno Philharmonic Orchestra conducted by Robert Kružík, and Tremor, featuring double bass soloist Robert Nairn, on 18 March 2022, in partnership with Ulysses Arts.
Ulysses Arts releases German composerJohannes Schlecht's album Ich spiele noch on Friday 4 March 2022, with Landeskapelle Eisenach (now Thüringen Philharmonie Gotha-Eisenach) conducted by Wolfgang Wappler and Tetsuro Ban, soprano Susann Möbius-Huss and 'cellist Grita Bühler.
Click above to download on iTunes or stream on Apple Music
Johannes Schlecht comments:
'At some point, many years ago, I had my first contact with poet Rose Ausländer during a night drive. On the radio. I heard her talk about herself andher exciting, fulfilling life, I heard her read from her poems. Her voice sounded cheerful and lovable, friendly and comforting, modest and humble, amazed and hopeful, curious and lively. This voice came from a woman who had been bed-ridden for years, sick, in a Jewish old people’s home in Düsseldorf. I was impressed and touched by the clarity and simplicity of her language and above all, the brevity in which she said the important, essential and necessary. For a long time I had the idea of composing poems by Rose Ausländer, of tracking down the melody of her language and poetry. For me that means composing by listening to the melody of the language and bringing it to life musically. In this sense, as a composer, I see myself as a creator and mediator. I put my personal, subjective view of poetry up for discussion: I try to provide a comment that brings the word, at best read or spoken, sung to another level of experience and feeling. Understanding the word, initially an ostensibly intellectual means of communication, becomes unimportant. It took me years to tackle Rose Ausländer’s poems. In between, to name just two important works, were the composition of ten songs based on poems by Paul Celan. For this cycle I received the last Hanns-Eisler Composition Prize from GDR Radio in 1989. Paul Celan, just like Rose Ausländer, comes from that melting-pot and centre of Eastern Jewish intellectual life - Cernowitz. I have developed a great affinity for this way of thinking and feeling. And in between there was also the composition of the small volume “DIR”, which was composed and drawn by Heinrich Vogeler, fourteen very soft, tender, sad-melancholy love poems for voice, cello and viola.'
Album Details
Ich spiele noch: Sieben Stücke für Singstimme, Flüte, Oboe, Fagott, Violoncello und Streichorchester nach Texten von Rose Ausländer Susann Möbius–Huss – Sopran; Landeskapelle Eisenach, Leitung: Wolfgang Wappler Streichquartett Nr. 1 i. nicht zu schnell ii. sehr langsam iii. unglücklicher Walzer mit glücklichem Ausgang iv. schnell, ausgelassen Divertimento Streichquartett der Landeskapelle Eisenach: Simona Balan, Violine; Silvia Peter, Violine; Gheorghe Balan, Viola; Roxana Mereutza, Violoncello Kommen und Gehen – Orchestermusik für Sophia i. Sehr ruhig ii. Ruhige Viertel iii. Sehr ruhig Landeskapelle Eisenach, Leitung: Tetsuro Ban Kommentare zu einem Thema von Max Reger – für Violoncello allein i. sehr frei, so langsam wie m glich ii. gehend iii. sehr ruhig, sempre col legno schnell, hüpfend iv. sehr langsam v. gehend vi. Thema, Largo Grita Bühler, Violoncello
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TIDAL STREAMING LINKS DEEZER YOUTUBE Links to download and stream on HDtracks and other service providers will be published here.
Composer Douglas Knehans comments: 'Cloud Ossuary began as a setting of my daughter Katarina Knehans' riveting and poignant poem Bones and All. When I first read her poem, I was seized with an immediate desire to set it to music. So, almost as immediately I got to work on it. As work progressed, I became more and more pleased with the piece—until it was finished. Once completed I had some difficulty reconciling the feelings of satisfaction with the setting with my concomitant feelings that it was incomplete. After much reflection, I came to realize that Bones and All was actually the final movement of a larger work, hence creating the two preceding movements: Breathe Clouded and The Ossein Cage. Breathe Clouded is an inverted and compressed version of Bones and All and The Ossein Cage follows the same harmonic architecture as both of the outer movements. Thus, Cloud Ossuary sits as three different guises of the same harmonic material and structural approach, though with dramatically different surfaces.' Preceding Cloud Ossuary is Knehans' hauntingly evocative single-movement Mist Waves for solo violin and strings - a 'loose chaconne based on veiled repetition of its initial eight bars' - performed by Pavel Wallinger, leader of the Brno Philharmonic Orchestra.
VIEW SCORES
CLOUD OSSUARY MIST WAVES (violin and strings version) MIST WAVES (violin and piano version)
APPLE MUSIC
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'Cloud Ossuary is a striking and fascinating work, full of gorgeous textures and colours,
yet throughout it is clear that Knehans brings a strong structural underpinning to the beauty, making for a satisfying symphonic work.’ PLANET HUGILL
'Eloquent and original'.
GAPPLEGATE CLASSICAL-MODERN MUSIC REVIEW 'Atmospheric presence and strong waves of inner exploration: the perfect match of classical music in modern times.' Anthony Biasioli, BRNO DAILY 'Sensitive, committed performances by the Brno Philharmonic under the meticulous guidance of Mikel Toms'. Michael Quinn, LIMELIGHT
HEAR MIST WAVES LIVE IN NEW YORK CITY
11 MAY 2022- LEFRANK CONCERT HALL * 12 MAY 2022 - WEILL RECITAL HALL, CARNEGIE HALL, 8PM * * Note Pandemic re-scheduled changes of date from those in advertised links |
