Cellist Marko Ylönen has recorded a beautiful double album containing Bach’s six suites for solo cello. On the album, Ylönen wants to emphasize the way in which the different series work together in a dialogue. That is why he does not play them in their numerical order, but creates an experience that takes the listener from the world of passion in the fifth series to the joyful tones of the last sixth series. The clear musical structure and the affect of the musical characters and gestures combine in Ylönen’s performance. His interpretation of the Bach suites tells the listener something invaluable, touching and timeless.

The Cistercian order was born at the end of the 11th century around the new monastery of Cîteaux and developed by Bernard of Clairvaux in the following years. Their aim was to return to the basics of the austere Benedictine rule, as opposed to the less stricter developments that had taken place around Cluny. These ideas quickly spread around Europe, producing great architecture and great liturgical music, devoid of embellishments and flourishments then considered unnecessary. Sabine Lutzenberger and her Ensemble PER-SONAT presents the sounds of Cistercian monasteries all around Europe.

Pelle Gudmundsen-Holmgreen wrote his first three string quartets in 1959 and his 14th and last in 2013, three years before he died. This first volume in a new cycle comes from an ensemble coached by Tim Frederiksen (he who gave us the Nightingale Quartet) at the Royal Danish Academy of Music. The Nordic Quartet gave their graduation performance at the Academy last autumn.

Abandoned at the age of two months and taken in by the Ospedale della Pietà, Chiara (or Chiaretta) rose – within that enclosed charitable institution in Venice – to become one of the leading European violinists of the middle of the 18th century. No stranger to such acclaim himself from two and a half centuries later, Fabio Biondi, on his first release for Glossa, has devised a programme drawing on the personal diary of this remarkable musician – taught by Antonio Vivaldi, and later a virtuoso soloist on the violin as well as the viola d’amore – of concertos and sinfonias by composers who, like the prete rosso, taught at the Pietà: Porta, Porpora, Martinelli, Latilla, Perotti and Bernasconi are all musicians whose compositions charm and delight as much today as they will have done in the time of Chiara.