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Daniil Trifonov explores Latin American treasures on 'Mi Historia Americana – Sur'

&ldquo;Daniil Trifonov&rsquo;s latest album bristles with virtuosity&rdquo;&nbsp;★★★★★ Financial Times, on&nbsp;My American Story &ndash; North
On the second leg of his autobiographical musical journey through the Americas, the pianist delves into the South American and Caribbean repertoires
&ldquo;Latin American music has distinctive qualities: inspirations from nature, traditional dances and songs, and evocations of faith&rdquo; &ndash; Daniil Trifonov
Trifonov is joined by the S&atilde;o Paulo Symphony Orchestra and Gonzalo Grau for Barroso&rsquo;s&nbsp;Aquarela&nbsp;do Brasil&nbsp;and the world premiere recording of Golijov&rsquo;s&nbsp;Cuadros del Sur, both arranged especially for this project
He also performs solo works by Gabriela Lena Frank, Ginastera, Guarnieri, Lecuona, Villa-Lobos and others, as well as his own&nbsp;Tango
The album will be released on 2&nbsp;October 2026
Daniil Trifonov&rsquo;s&nbsp;My American Story &ndash; North&nbsp;came out in 2024 to widespread critical acclaim. In this second volume of his musical journey across the Americas,&nbsp;Mi Historia Americana &ndash; Sur&nbsp;(My American Story &ndash; South), the pianist shares a wide-ranging selection of his Latin American and Caribbean musical discoveries. Through both solo and orchestral works, Trifonov&rsquo;s travels &nbsp;take him from Cuba and the Dominican Republic to Brazil, Peru and Argentina. In many senses, this album is his most personal to date, given the close links he has forged with the region &ndash; largely through his marriage to fellow pianist Judith Ram&iacute;rez, who was born in the Dominican Republic. &ldquo;Like Latin America itself,&rdquo; says Trifonov, &ldquo;the repertoire is vast and full of variety. There are many pieces that are popular in the region yet unfamiliar in other parts of the world. I wanted to present a picture of the musical richness this literature has to offer.&rdquo;
The two orchestral works on the album (Aquarela do Brasil&nbsp;and&nbsp;Cuadros del Sur) were recorded in February 2026 in S&atilde;o Paulo, while Trifonov was in Brazil for concerts featuring this repertoire. He was joined by members of the&nbsp;S&atilde;o Paulo Symphony Orchestra (OSESP)&nbsp;and Venezuelan multi-instrumentalist/arranger/musical director&nbsp;Gonzalo Grau. The concerts were filmed by&nbsp;Deutsche Grammophon, with a&nbsp;<a href="https://www.stage-plus.com/">STAGE+</a>&nbsp;premiere planned for a future date.
The album will be released digitally, on CD (2 discs) and on vinyl (3 LPs) on&nbsp;2&nbsp;October 2026, with a 5‑track vinyl disc entitled&nbsp;The&nbsp;Encores&nbsp;out the same day, to tie in with Trifonov&rsquo;s upcoming recital tour. The pianist&rsquo;s transcription of Gustavo Santaolalla&rsquo;s main theme from&nbsp;The Last of Us&nbsp;comes out as a standalone digital single on&nbsp;24&nbsp;July. A series of digital tracks from the album will be shared between then and 2&nbsp;October, each accompanied by a performance video.
Mi Historia Americana &ndash; Sur&nbsp;opens with Gonzalo Grau&rsquo;s arrangement of Ary Barroso&rsquo;s hugely popular song&nbsp;Aquarela do Brasil. Grau also created&nbsp;Cuadros&nbsp;del Sur&nbsp;(&ldquo;Pictures of the South&rdquo;) specifically for this Trifonov project, a co-commission by OSESP, Deutsche Grammophon, the Orchestre Philharmonique de Radio France and the Aspen Music Festival. The music is drawn from Argentinian composer Osvaldo Golijov&rsquo;s choral-orchestral work&nbsp;La Pasi&oacute;n seg&uacute;n San Marcos, with formal inspiration provided by Mussorgsky&rsquo;s&nbsp;Pictures at an Exhibition&nbsp;&ndash; Grau alternates some of the most varied sections of Golijov&rsquo;s&nbsp;Pasi&oacute;n&nbsp;with a recurring &ldquo;promenade&rdquo; theme. Trifonov and the orchestra gave the world premiere performance in&nbsp;February, and present the first recording here. OSESP also becomes the first Brazilian orchestra ever to appear on a DG recording.
Brazil is further represented by Villa-Lobos&rsquo;s&nbsp;Bachianas brasileiras No.&nbsp;4&nbsp;and gems by Mozart Camargo Guarnieri and Oscar Lorenzo Fern&aacute;ndez. Meanwhile, from Argentina we also hear music by Ginastera (Milonga&nbsp;and Second Piano Sonata) as well as a Tango, not from Buenos Aires but composed by Trifonov himself.
Much of the inspiration for this album came to the pianist during an extended stay in his wife&rsquo;s homeland. &ldquo;My family and I were isolated for months in the Dominican Republic during the Covid pandemic,&rdquo; he recalls. &ldquo;It was during that lockdown period that I finally found time to discover a wealth of outstanding Latin American piano music.&rdquo; From the Caribbean, he has chosen contrasting works by contemporary Dominican composer Michel Camilo and his compatriots Juan Francisco Garc&iacute;a and Rafael Bullumba Landestoy, and two pieces by Cuba&rsquo;s most famous composer, Ernesto Lecuona.
There is one more stop on Trifonov&rsquo;s journey &ndash; Peru &ndash; whose music is represented by Gabriela Lena Frank&rsquo;s&nbsp;Sonata andina. A US-born composer with Peruvian roots, Frank was recently awarded the 2026 Pulitzer Prize in Music for her orchestral work&nbsp;Picaflor: A future myth. &ldquo;As with many composers featured on this album,&rdquo; Trifonov explains, &ldquo;Frank blends elements of western classical and folk music traditions in complex, captivating ways: the solo piano [in&nbsp;Sonata andina] evokes traditional Bolivian drums and Peruvian flutes, and imitates Latin guitars and instruments such as the marimba. It&rsquo;s a colourful musical tapestry.&rdquo;
Daniil Trifonov will perform this repertoire extensively in the 2026-27 season. Upcoming highlights include a Latin American tour with the Berliner Philharmoniker and performances of&nbsp;Cuadros del Sur&nbsp;in Europe. Full touring details&nbsp;<a href="https://www.deutschegrammophon.com/en/artists/daniil-trifonov/on-tour">here</a>.

Friendship Survival Guide Sees Adam Wiltzie Complete a Decade-Old Collaboration with the Late Jóhann Jóhannsson 

Legendary ambient drone artist Adam Wiltzie salutes his longtime friend, the award-winning composer&nbsp;J&oacute;hann J&oacute;hannsson&nbsp;by finishing the album the pair started in 2013
Additional contributions to Friendship Survival Guide come from electronic musician Tim Hecker, the late producer Steve Albini and Grammy Award winning engineer, Francesco Donadello
The album will be released on 18 September 2026, listen&nbsp;to the first pre-release single&nbsp;White Gloves &amp; Turtlenecks&nbsp;<a href="https://eur02.safelinks.protection.outlook.com/?url=https%3A%2F%2Fdg.lnk.to%2FFriendshipSurvivalGuide&amp;data=05%7C02%7Cconstanze.busch%40umusic.com%7Cd849013a52e640e657c108dee70814fe%7Cbbcb6b2f8c7c4e2486e46c36fed00b78%7C1%7C0%7C639202219064766946%7CUnknown%7CTWFpbGZsb3d8eyJFbXB0eU1hcGkiOnRydWUsIlYiOiIwLjAuMDAwMCIsIlAiOiJXaW4zMiIsIkFOIjoiTWFpbCIsIldUIjoyfQ%3D%3D%7C0%7C%7C%7C&amp;sdata=7Ovznu5%2BMvsLs%2BdWGuqQYWyYRWY4Yxy5IFKVXuupYTk%3D&amp;reserved=0">here</a>.
&ldquo;Our friendship is the story here, (&hellip;) J&oacute;hann&rsquo;s not there anymore, but this artifact we created together, is alive and it's incredible. I could never have done it without him.&ldquo;&nbsp;&ndash; Adam Wiltzie
DG releases crystal-clear vinyl reissue of J&oacute;hannsson&rsquo;s celebrated&nbsp;Orph&eacute;e&nbsp;for its 10th anniversary,
out 16 October
&nbsp;
On&nbsp;September 18th,&nbsp;Deutsche Grammophon&nbsp;will release&nbsp;Friendship Survival Guide, an album of orchestral psychedelic drone compositions by&nbsp;Adam Wiltzie&nbsp;and the late&nbsp;J&oacute;hann J&oacute;hannsson. Wiltzie, co-founder of the now-legendary drone duo Stars of the Lid, and J&oacute;hannsson, the award-winning composer and orchestrator, shared a decade-long friendship and creative partnership, writing, performing and recording together prior to the latter&rsquo;s tragic passing in 2018.&nbsp;Friendship Survival Guide&nbsp;stems from the pair&rsquo;s numerous 2013-17 studio collaborations on sessions for J&oacute;hannsson&rsquo;s scores of the 2014 Stephen Hawking biopic&nbsp;The Theory of Everything&nbsp;(for which J&oacute;hann won a Golden Globe) and director Dennis Villeneuve&rsquo;s 2017 sci-fi thriller&nbsp;Arrival&nbsp;(for which he garnered an Academy Award nomination). The album will be available digitally, on CD and on black vinyl. Ahead of its release, two digital singles will be issued for streaming and download:&nbsp;White Gloves &amp; Turtlenecks, out today, July 31, followed by&nbsp;Dazed And Reflective Glory - Pt.1 on September 4.
After years away from the recordings, Wiltzie returned to the tapes with blessings from J&oacute;hannsson&rsquo;s family, completing&nbsp;Friendship Survival Guide&nbsp;to honor J&oacute;hann&rsquo;s legacy. Some of these tracks&mdash;and the analog tape loops that form their core&mdash;remain as they were first recorded a decade ago by the pair&rsquo;s longtime friend and engineer&nbsp;Francesco Donadello, using J&oacute;hann's Revox machines. Other&nbsp;Friendship Survival Guide&nbsp;pieces required additional recording that took place between 2023-25, with Wiltzie assisted by electronic musician&nbsp;Tim Hecker&nbsp;and composer&nbsp;Bryan Senti. Many of the guitar tracks on&nbsp;Friendship Survival Guide&nbsp;were, in Wiltzie&rsquo;s words, &ldquo;recorded, blasted and amped&rdquo; by engineer/producer&nbsp;Steve Albini at his Electrical Audio studio in Chicago, months before his own sudden passing. The musical ghosts that permeate these recordings are staggering to behold.&nbsp;
Yet so is the camaraderie and creative love that informs the album and its name. As he often does with all his projects, Wiltzie gave original titles to the pieces at the end of the recording process, supplying them with &ldquo;hidden meanings.&rdquo; The titles on&nbsp;Friendship Survival Guide &ldquo;anchor the sound in our recognizable friendship&rdquo; and &ldquo;function as a private language between the collaborators.&rdquo; For insight into how close Wiltize and J&oacute;hannsson were, look no further than the layered, starts-in-the-middle orchestral beauty of the opener, &ldquo;September Nineteen Sixty Nine,&rdquo; named after the month both men were born in, two days and an ocean apart.&nbsp;
The pair first met in 2007 in Prague, where J&oacute;hannsson was recording parts of his soon-to-be-released,&nbsp;Fordlandia, making the leap from the Icelandic shoegaze punk underground to the expansive, string-laden sound that would make him a global sensation. He&rsquo;d come to see Wiltzie&rsquo;s storied band, Stars of the Lid, then in the midst of a European tour, and introduced himself at the merch table. The pair went out drinking with friends that night, instantly bonding around similar lives and interests, and around shared musical aesthetics, ambient synths, orchestral grandeur, lo-fi tape loops and how various drones intermingle effortlessly. Wiltzie remembers the evening as a &ldquo;first-night-on-Earth-type meeting, two guys who just met but seemed like we'd known each other our entire lives.&rdquo;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
Over the next decade, Wiltzie and J&oacute;hannsson collaborated regularly. In 2009, Wiltzie helped book and tour manage J&oacute;hannsson&rsquo;s first (very DIY) tour of the U.S, and Adam would remain a regular part of J&oacute;hann&rsquo;s live band, and his live sound engineer, even as he also continued working on solo music, and launched the duo A Winged Victory for the Sullen with Dustin O&rsquo;Halloran. In 2013, J&oacute;hannsson invited Wiltzie to ghost-write and collaborate on the cues to the score for the James Marsh film,&nbsp;The&nbsp;Theory of Everything, the first time they&rsquo;d written and recorded together. Working in separate studios&mdash;J&oacute;hannsson in Berlin, Wiltzie from his home in Belgium&mdash;the collaboration was a &ldquo;back-and-forth, super-easy and quick. He loved it, and I loved what he was sending back.&rdquo; Wiltzie called the time &ldquo;very inspiring and creative&rdquo; for both men, and &ldquo;the catalyst for the idea of recording an album together.&rdquo; They began recording what J&oacute;hannsson called &ldquo;our own weird record&rdquo; right there and then; but before long, the&nbsp;Theory score won those Hollywood awards, and J&oacute;hannsson&rsquo;s career went, in Wiltzie&rsquo;s words, &ldquo;skyrocket to the moon,&rdquo; pushing their album idea onto the back-burner.
Yet the pair&rsquo;s friendship never receded. Wiltzie recalls the last of his regular check-in phone calls with J&oacute;hannsson, shortly before J&oacute;hann&rsquo;s passing in February 2018: &ldquo;He had just played a concert in Barcelona, and was sounding calm and lucid. I was so happy for him because he had a great show. He said, he wished he could do more shows like this, because it felt so good to be on stage.&rsquo; He was having a really good day, and seemed in a really good place. And then he was gone.&rdquo;
Speaking of&nbsp;Friendship Survival Guide, Wiltzie says: &ldquo;Our friendship is the story here, that one half of the duo is not around anymore, that he was a good friend of mine, and I'm still dealing with his loss. At the same time, it feels great to be finishing this music. Because you can feel J&oacute;hann&rsquo;s presence. It's this living, breathing thing, a beautiful reminder. The quintessentially most perfect and beautiful thing about collaboration is that it&rsquo;s something you could never do by yourself. It's as simple as that. J&oacute;hann&rsquo;s not there anymore, but this artifact we created together, is alive and it's incredible. I could never have done it without him.&rdquo;
(For more of Adam Wiltzie discussing his relationship with J&oacute;hann J&oacute;hannsson and&nbsp;Friendship Survival Guide, read the full as-told-to text, culled from an interview with Piotr Orlov.)
Alongside the release of&nbsp;Friendship Survival Guide, September 18th will also see the release of an accompanying three-chapter short film by Belgian director Jonas Govaerts. Starring Wiltzie and the actor Jeroen Percevall (Bullhead), the film can be best described as a metaphysical nocturnal taxi ride, a visual (non-documentary) companion to the album, with scenes shot in a Gent studio and a bleak train station in Muizen.
The album&rsquo;s release date, September 18, also marks the pre-order start for the crystal-clear vinyl reissue of&nbsp;Orph&eacute;e, one of J&oacute;hann J&oacute;hannsson&rsquo;s most successful albums celebrating its 10-year anniversary in 2026. The special edition will be released shortly afterwards, on October 16.
Upcoming live performances of J&oacute;hann J&oacute;hannsson&rsquo;s music will take place at the Vancouver International Film Festival (Chan Centre for the Performing Arts, Vancouver, BC,10/9/2026), featuring an orchestra playing to film clips of&nbsp;Prisoners,&nbsp;Arrival,&nbsp;Sicario, and&nbsp;The Theory of Everything; and at the Ambient Festival Cologne 2027 (location/date TBC), where Ensemble Musikfabrik will perform &ldquo;Drone Mass.&rdquo;&nbsp;
Upcoming North American live dates for A Winged Victory For the Sullen include Vic Theatre in Chicago (9/23/2026), The Concert Hall in Toronto (9/25/2026), Pop Montr&eacute;al (9/26/2026), and Pioneer Works in Brooklyn (9/28 &amp; 9/29/2026).&nbsp;

Floating Points Shares New Mere Mortals Track Pandora’s Creation

Mere Mortals&nbsp;will be released in all formats on 28 August 2026
Pandora&rsquo;s Creation will be shared online on 24 July&nbsp; 
Floating Points&nbsp;today unveils&nbsp;Pandora&rsquo;s Creation, the second track from his forthcoming Deutsche Grammophon album&nbsp;Mere Mortals. Following the release of&nbsp;Her Gift, the new single offers another compelling glimpse into Sam Shepherd&rsquo;s genre-defying score, where orchestral writing and electronic sound worlds merge into a rich and immersive musical experience.
Floating Points&rsquo;&nbsp;Mere Mortals&nbsp;will be released on&nbsp;28 August 2026. Recorded with the&nbsp;San Francisco Ballet Orchestra, the 14-track album captures Shepherd&rsquo;s first full-length ballet score, originally commissioned by San Francisco Ballet Artistic Director Tamara Rojo. Reimagining the myth of Pandora through a contemporary lens, the work explores themes of curiosity, transformation and humanity&rsquo;s relationship with technology and the natural world.
Reflecting on the project, Shepherd explains: &ldquo;Pandora&rsquo;s not about bringing hell to Earth. She really represents curiosity and change.&rdquo; This fresh interpretation shapes a score that moves seamlessly between lyrical orchestral passages, powerful brass writing and pulsating electronics, creating a musical narrative that is as compelling on record as it is on stage.
Floating Points will appear live in the European premiere of&nbsp;Mere Mortals&nbsp;with San Francisco Ballet at the 2026&nbsp;Edinburgh International Festival&nbsp;(28 August, with the Royal Scottish National Orchestra; further performances 29 &amp; 30 August), and when the work transfers to&nbsp;Sadler&rsquo;s Wells Theatre in London (9-12 September, with the Royal Ballet Sinfonia).

Daniil Trifonov releases his own transcription of The Last of Us theme as a digital single

Pianist&nbsp;Daniil Trifonov&nbsp;releases his&nbsp;own transcription&nbsp;of&nbsp;Gustavo Santaolalla&rsquo;s theme from&nbsp;The Last of Us&nbsp;as a digital single on&nbsp;24 July&nbsp;on&nbsp;Deutsche Grammophon. In his version, he recasts the theme from the internationally successful video game franchise and its multi-award-winning TV adaptation for solo piano. Originally written for guitar, the piece takes on a distinctive new character in Trifonov&rsquo;s transcription for piano.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; With this single, Trifonov also offers a first glimpse of his forthcoming&nbsp;American Story&nbsp;project, whose second chapter,&nbsp;Mi Historia Americana, is due for release on&nbsp;2 October.
The Argentinian composer and two-time Academy Award winner Gustavo Santaolalla created a highly recognizable theme defined by its haunting and melancholic character. For Trifonov, the atmosphere of the original was central. To evoke the guitar&rsquo;s subtle tonalities, he also worked with the strings of the piano in shaping the transcription. The result is a piece that preserves the theme&rsquo;s character while reimagining its minimalist tension for the piano.

Víkingur Ólafsson launches CONTINUUM II, a new album of music  by J.S. Bach

First single &ndash; &Oacute;lafsson&rsquo;s arrangement of the Air on the G String &ndash; released 17 July: watch&nbsp;<a href="https://www.youtube.com/watch?v=pHmXD2jc3QU">here</a>&nbsp;/ stream&nbsp;<a href="https://dg.lnk.to/Continuum2">here</a>
Album released on Deutsche Grammophon: 13 November 2026
For more than thirty years,&nbsp;V&iacute;kingur &Oacute;lafsson&nbsp;has played a little Bach every day. &ldquo;Bach has become my diary,&rdquo; says the pianist. &ldquo;Playing his music is the one constant in my life.&rdquo; That lifelong conversation continues with&nbsp;CONTINUUM&nbsp;II, the second instalment of his acclaimed&nbsp;CONTINUUM&nbsp;project and the first album to be recorded entirely in his new Icelandic home studio,&nbsp;The Nutshell. Bringing together original keyboard works alongside new arrangements and transcriptions,&nbsp;CONTINUUM&nbsp;II&nbsp;will be released by&nbsp;Deutsche Grammophon&nbsp;digitally, on CD and vinyl on&nbsp;13 November 2026. The first single &ndash; &Oacute;lafsson&rsquo;s own arrangement of Bach&rsquo;s Air on the G&nbsp;String (grand piano version) &ndash; is released on&nbsp;17&nbsp;July, followed by the Larghetto from the Keyboard Concerto No.&nbsp;1 in D&nbsp;major, BWV&nbsp;972 (after Vivaldi), on&nbsp;14 August.
&Oacute;lafsson comments: &ldquo;I have never had the stamina to keep a journal for longer than a few weeks. But for over thirty years, I have played a little Bach on the piano every day. It is the one constant factor in my life, no matter what else is going on. Playing his music is a way of putting your particular experience into context with the universal. Even your location in time and space becomes a little trivial. Bach wrote some of his greatest works for a very small audience in a time when he was considered behind the times, a man of the past. As we know now, it turns out he was writing for all of us, for the future. When I play Bach, I am reminded that historical eras in music are notions we superimpose on what is essentially a continuum: an unbroken thread linking us all, a running stream flowing through us &ndash; what the Germans, incidentally, call a&nbsp;Bach. This recording project is called&nbsp;Continuum. It is my personal Bach journal, an ongoing conversation with his music and a tribute to his art.&rdquo;
&Oacute;lafsson released the first volume of&nbsp;CONTINUUM&nbsp;in October 2024 and, since then, has won his first GRAMMY Award&reg; for his recording of Bach&rsquo;s&nbsp;Goldberg Variations, surpassed one billion streams worldwide &ndash; half of them from Bach repertoire &ndash; and built The Nutshell: a teak-walled, fully remote recording studio beneath his home in Iceland.
On turning forty, &Oacute;lafsson began thinking about what he wanted the next decade of his life to look like. One answer was the freedom to record with complete spontaneity. &ldquo;If the urge strikes,&rdquo; he explains, &ldquo;I can simply wander downstairs late at night in my pyjamas, press a couple of buttons, and start recording.&rdquo;
That spirit shapes&nbsp;CONTINUUM&nbsp;II. As his first true &ldquo;album domesticum&rdquo;, it centres on music associated with the home: intimate, reflective works that reveal Bach at his most personal. At its heart are six chorales that &Oacute;lafsson plays on the piano, including&nbsp;Wie sch&ouml;n leuchtet der Morgenstern, BWV 436;&nbsp;Welt, ade!, BWV 27/VI; and&nbsp;Es ist genug, BWV 60/V.
&ldquo;I haven&rsquo;t come across them recorded on the piano,&rdquo; he notes. &ldquo;But to me they seem newly revealed in that medium. I particularly love how they sound in the fragile sonority of the upright piano.&rdquo;
It was producer Christopher Tarnow who suggested including an arrangement of the early organ chorale prelude&nbsp;Erbarm dich mein, o Herre Gott. &ldquo;I have to admit I had never heard this work before. Bach wrote it when he was around twenty years old, and the first time I played it I immediately realised it was the kind of music that stays with you for the rest of your life. Its desolate beauty, its impossibly unpredictable harmonic progression, its&nbsp;lamentoso&nbsp;spirit that almost feels like a nineteenth-century lied&hellip; We don&rsquo;t know what&rsquo;s around the next corner, but we want Bach to hold our hand and take us there. It is the sort of work I never want to end once I begin playing it.&rdquo;
For the album, &Oacute;lafsson recorded both grand and upright piano versions of his own arrangement of Bach&rsquo;s Air from the Orchestral Suite No.&nbsp;3, better known as the Air on the G&nbsp;String. He dedicated the score to Gy&ouml;rgy Kurt&aacute;g as a gift for the composer&rsquo;s 100th birthday earlier this year.
The programme also includes the Largo from the Keyboard Concerto No.&nbsp;5 in F&nbsp;minor; &Oacute;lafsson&rsquo;s arrangement of the Adagio from the Violin Sonata No.5 in F&nbsp;minor for piano, string quartet and double bass, performed with the Siggi String Quartet and bassist Xun Yang; and the Larghetto from the Keyboard Concerto No.&nbsp;1 in D&nbsp;major, arranged by Bach himself from a Vivaldi original.
Completing the programme &ndash; and encapsulating the intimate, domestic spirit of CONTINUUM II &ndash; are six of the short preludes Bach wrote as practice pieces for his pupils, including his own children. Their brevity, &Oacute;lafsson suggests, conceals remarkable depth.
&ldquo;Each is an inspired miniature, a complete musical world in itself. Recorded here on the grand piano, they remind me that some of Bach&rsquo;s most profound thoughts are also among his most compact.&rdquo;
The artist&rsquo;s acclaimed collaboration with Olafur Eliasson &ndash; his performance of Bach&rsquo;s&nbsp;Goldberg Variations&nbsp;at Lucerne Festival PULSE, accompanied by Eliasson&rsquo;s immersive real-time light installation &ndash; will&nbsp;<a href="https://www.stage-plus.com/video/live_concert_9HKNCPA3DTN66PBIEHFJ2CPH6C">stream worldwide on STAGE+</a>&nbsp;from 18 July.
Other forthcoming highlights include Bach, Beethoven and Schubert recitals at the Edinburgh International Festival (22 August) and three at London&rsquo;s Wigmore Hall (10-12 September); a European tour of Beethoven&rsquo;s Piano Concerto No. 5 with the Concertgebouw Orchestra and Santtu-Matias Rouvali taking in the Concertgebouw Amsterdam, Lucerne Festival, Grafenegg Festival and Philharmonie de Paris (26 August-3 September); the world premiere of Mark Simpson&rsquo;s Piano Concerto with the London Philharmonic Orchestra and Edward Gardner at London&rsquo;s Royal Festival Hall (23 October); a recital tour of South Korea, China and Taiwan in October and November, as well as Brahms&rsquo;s Piano Concerto No. 1 with the Berliner Philharmoniker and Kirill Petrenko in Baden-Baden (4 December).

Multi-Award-Winning Composer Yu-Peng Chen presents his first classical album for Deutsche Grammophon

Recognized by a wide community of gaming fans as &ldquo;Archon&rdquo; (&ldquo;master&rdquo;), Yu-Peng Chen, whose music has reached over 2 billion streams, unveils a symphonic suite for piano and orchestra in 12 movements.
The Poem of Life&nbsp;will be released on September 25, 2026
Listen to&nbsp;Waltz of the Fireflies&nbsp;and&nbsp;Overture: The Flavors of Life&nbsp;<a href="http://dg.lnk.to/thepoemoflife">here</a>
Berlin,&nbsp;3 July&nbsp;2026 &mdash; Deutsche Grammophon&nbsp;presents&nbsp;The Poem of Life, the new album by composer, pianist and producer&nbsp;Yu-Peng Chen. Known to a wide international audience for his work on the globally popular game&nbsp;Genshin Impact, his music has reached listeners around the world and accumulated over 2 billion streams.&nbsp;The Poem of Life&nbsp;will be released digitally, on CD and LP on&nbsp;25 September.
With this release, Chen turns to a more personal project: a symphonic suite for piano and orchestra in 12 movements, exploring different stages of life with a focus on reflection, expression and storytelling. The Poem of Life marks a new direction in his work, bringing together his experience in game music with a more intimate, concert-focused approach.
Recorded with the&nbsp;Shanghai Philharmonic Orchestra&nbsp;under the baton of&nbsp;Zhang Liang, the album also stands as a powerful cultural statement, blending Western orchestral tradition with the expressive depth of Chinese musical heritage. Yu-Peng Chen himself appears as piano soloist on the recording and collaborates with pianist&nbsp;Yixuan Wei&nbsp;in selected works for two pianos. &nbsp;Traditional instruments such as guzheng, erhu, pipa, and sheng, alongside the voices of renowned Chinese opera singers&nbsp;Yi Li&nbsp;and&nbsp;Zhengzhong Zhou, reveal&nbsp;Chen&rsquo;s artistic heritage, bringing centuries of cultural memory into dialogue with a contemporary symphonic language. The project is further enriched by the presence of renowned violinist&nbsp;Daniel Hope, virtuoso mandolinist&nbsp;Avi Avital&nbsp;and cellist&nbsp;Philipp Schupelius&nbsp;as guest artists.
Conceived as a deeply reflective exploration of universal human experience,&nbsp;The Poem of Life&nbsp;traces an emotional and spiritual arc from birth to farewell. Through lyrical melodies and rich symphonic arrangements, Chen evokes the wonder of childhood, the trials of adulthood, and the serenity of later years&mdash;culminating in the final moments of life. As Chen explains, the album is intended as &ldquo;a vessel&rdquo; for the emotions that define the human experience, inviting listeners to reflect, remember, and reconnect with their own life stories.
With&nbsp;The Poem of Life, Yu-Peng Chen delivers an intimate work, showing his talent for musical storytelling. Bridging cultures, genres, and audiences, the album invites listeners on a shared human journey&mdash;one defined by beauty, reflection, and the enduring power of music.
&nbsp;
ABOUT Yu-Peng Chen
Yu-Peng Chen is an internationally celebrated composer, pianist, and producer whose work stands out for its rich melodic style and seamless fusion of Western orchestral traditions with diverse Asian musical influences. Best known for his widely acclaimed scores for the global hit game&nbsp;Genshin Impact, his music has reached vast audiences, generating billions of streams and earning him a devoted worldwide fanbase. A graduate of the Shanghai Conservatory of Music, Chen has built a distinguished career across film, television, and gaming, receiving numerous awards and collaborating with leading orchestras such as the London Philharmonic and Shanghai Symphony Orchestra. His compositions are noted for their emotional depth and cultural versatility, blending instruments and styles from regions including China, Japan, India, and the Middle East. In 2025, he made history as the first Chinese composer to sign with Deutsche Grammophon, marking a major milestone in his career and signalling a growing focus on large-scale orchestral works, including his album&nbsp;FANTASYLAND and upcoming projects.

Matthias Goerne and Markus Hinterhäuser  release a new album, Zwielicht

&ldquo;Hinterh&auml;user and Goerne utterly immerse themselves in the world of Schumann&rsquo;s&nbsp;Liederkreis, Op.&nbsp;39&rdquo;
S&uuml;ddeutsche Zeitung
From 1840, Schumann&rsquo;s &ldquo;Year of Song&rdquo;, to 1852 and his final song cycle
Zwielicht&nbsp;comes out on 24&nbsp;July 2026
Matthias Goerne, one of the world&rsquo;s leading Lieder singers, has recorded a new Schumann album for&nbsp;Deutsche&nbsp;Grammophon&nbsp;with pianist&nbsp;Markus Hinterh&auml;user. On&nbsp;Zwielicht&nbsp;(&ldquo;Twilight&rdquo;), they perform&nbsp; &nbsp;the&nbsp;Liederkreis, Op. 39, a cycle setting poems by Joseph von Eichendorff; three of the four&nbsp;Ges&auml;nge des Harfners&nbsp;from Op.&nbsp;98a (Lieder und Ges&auml;nge aus &ldquo;Wilhelm Meister&rdquo;) and the&nbsp;Gedichte der K&ouml;nigin Maria Stuart, Op. 135.&nbsp;Zwielicht&nbsp;will be released digitally and on CD on 24 July 2026.
Goerne and Hinterh&auml;user have been performing as a Lieder duo since 2014, notably in the acclaimed production of Schubert&rsquo;s&nbsp;Winterreise&nbsp;featuring video projections by artist William Kentridge which they toured all over the world. Between 2018 and 2022 their interpretations of the repertoire on&nbsp;Zwielicht&nbsp;graced the stages of the Salzburg Festival, the Vienna Konzerthaus and Munich&rsquo;s Prinzregententheater, among many others. &ldquo;Goerne&rsquo;s voice offers solace to despairing souls,&rdquo; wrote&nbsp;Der Standard. The long-standing piano partner of Brigitte Fassbaender, Markus Hinterh&auml;user is also a sought-after interpreter of 20th-century music &ndash; from the Second Viennese School to Feldman and Nono. This summer, he and Goerne will present an all-Schubert programme at the 2026 Salzburg Festival.
The works on&nbsp;Zwielicht&nbsp;span twelve years of Schumann&rsquo;s song-writing career &ndash; from his miraculous&nbsp;Liederjahr, or &ldquo;Year of Song&rdquo;, to the health crisis he suffered in 1852. The composer wrote the Eichendorff&nbsp;Liederkreis&nbsp;within three weeks in May 1840. These 12 songs were among the total of around 140 he wrote over the course of that particular year, which also saw him finally able to marry Clara Wieck. While Heine&rsquo;s words encouraged a kind of febrile introspection from Schumann, Eichendorff&rsquo;s poetry inspired musical portrayals of Romantic landscapes in songs such as &ldquo;Mondnacht&rdquo; (&ldquo;Moonlit Night&rdquo;), &ldquo;Auf einer Burg&rdquo; (&ldquo;In a Castle&rdquo;) and the title track of this album, &ldquo;Zwielicht&rdquo;.
Schumann set to music the Harper&rsquo;s songs from Goethe&rsquo;s&nbsp;Wilhelm Meister&nbsp;in 1849, during the same period in which he was working on the&nbsp;Scenen aus Goethes Faust. The musical language is different here: lyricism gives way to a more questioning, analytical gaze; the songs of the wandering musician become painfully inward-looking soliloquies.
Composed in December 1852, Schumann&rsquo;s final song cycle, the&nbsp;Gedichte der K&ouml;nigin Maria Stuart, is even more austere. The five songs follow Mary Queen of Scots from her &ldquo;Farewell to France&rdquo; (&ldquo;Abschied von Frankreich&rdquo;) to a pre-execution prayer (&ldquo;Gebet&rdquo;). Schumann employs a recitative-like style in spare, direct music that faces death head on.
The latest addition to Matthias Goerne&rsquo;s acclaimed DG discography&nbsp;Zwielicht&nbsp;joins&nbsp;Beethoven Lieder&nbsp;(with Jan Lisiecki, 2020),&nbsp;Im Abendrot&nbsp;(with Seong-Jin Cho, 2021),&nbsp;Lieder&nbsp;(with Daniil Trifonov, 2022) and&nbsp;Schubert Revisited (with the Deutsche Kammerphilharmonie Bremen, 2023) in what has become one of the most remarkable Lieder projects of our time.

David Garrett – Deutsche Grammophon  Announces New Album: Immortal

The multi-award winning violinist presents rearranged works dedicated to history&rsquo;s greatest composers in classical music
Immortal&nbsp;is released on 9 October 2026
First IG &ldquo;Puccini: Nessun Dorma&rdquo; will be released on 26 June 2026
Listen to&nbsp;&ldquo;Puccini: Nessun Dorma&rdquo;&nbsp;&nbsp;
Berlin, 19 May 2026&nbsp;&mdash; German/American violinist&nbsp;David Garrett&rsquo;s new&nbsp;Deutsche Grammophon&nbsp;recording,&nbsp;Immortal, is a deeply personal and ambitious project dedicated to the enduring legacy of classical music. Rooted in the belief that music can transcend time, the album pays tribute to some of history&rsquo;s greatest composers including &ndash; W.A. Mozart, Claude Debussy and John Williams reimagining their works through a contemporary yet profoundly human lens. Set for release on&nbsp;9 October 2026, Immortal will be available digitally, on CD and vinyl.
Following the success of his previous Deutsche Grammophon release, Iconic (2022), which achieved gold status, Immortal marks a significant new chapter in David&rsquo;s artistic journey.&nbsp;
&ldquo;If we talk about things that come close to immortality, art&mdash;especially music&mdash;stands out as something that endures over time and approaches the idea of being immortal&rdquo;, David reflects. &ldquo;Over the past twelve months, I made it my responsibility to do each composer justice in the way I approached their work.&rdquo;
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Set for release on October 9, 2026, Immortal features 20 tracks on the standard edition and 25 on the deluxe version. Each piece has been meticulously crafted, reflecting David&rsquo;s deep musical understanding and unwavering commitment to authenticity.
&ldquo;I&rsquo;m proud to say that this project is 100% handmade,&rdquo; he adds. &ldquo;I hope listeners not only enjoy the sound, but also feel the human presence within the music.&rdquo;
Formally trained in composition, David arranged the entire project album himself, shaping a distinctive artistic vision in every detail. He is joined by co-arrangers Franck van der Heijden and John Haywood, whose contributions add further depth and richness to the orchestral textures.
The recording is brought to life by The Prezent orchestra and pianist Julien Quentin, whose energy and passion underpin the album&rsquo;s sound, adding both power and nuance to the arrangements.
With Immortal, David not only honours the timeless works of the past but also reaffirms the enduring relevance of human-made music in today&rsquo;s world. It is a project that connects generations, celebrates authenticity, and&mdash;true to its title&mdash;strives for timelessness.
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Starting in February 2027, David Garrett will embark on a worldwide tour for Immortal.

German Pianist Justus Eichhorn Begins Collaboration with Deutsche Grammophon

The Source&nbsp;includes music by J.S. Bach, Czerny, Hindemith, Mendelssohn, Liszt, Schubert and R. Strauss, alongside a Vivaldi arrangement and the world premiere recordings of three of Eichhorn&rsquo;s own works
Debut album out on 11 September 2026
Berlin, 26 June 2026.&nbsp;Deutsche Grammophon&nbsp;is delighted to announce the start of a collaboration with Weimar-born pianist and composer&nbsp;Justus Eichhorn. At just 16, he is already one of the most exceptional and distinctive classical artists of his generation and has given sell-out performances at prestigious venues from Hamburg and Zurich to Shenzhen and Seoul. His charisma, authenticity and creative use of social media (@justus.pianist) have helped him build an impressive international profile. With half a million followers and counting, he is attracting classical fans and new listeners of all ages to his live appearances as well as his online content.
Eichhorn will make his DG debut with&nbsp;The Source. The album traces the rich musical history of his birthplace via works by composers closely connected with Weimar, including J.S. Bach, Hindemith, Mendelssohn, Liszt and R. Strauss. Showcasing Eichhorn&rsquo;s talents as an interpreter and a composer in his own right, it will be released digitally and on CD on 11&nbsp;September 2026, with a selection of tracks also set to be issued on vinyl. The Largo from Vivaldi&rsquo;s Flautino Concerto, RV 443 (arr. Eichhorn) is available to stream or download from today,&nbsp;26 June.&nbsp;St&auml;ndchen&nbsp;by Liszt (after Schubert) follows on&nbsp;10&nbsp;July, Eichhorn&rsquo;s&nbsp;Silent Fields&nbsp;on&nbsp;31&nbsp;July and Czerny&rsquo;s &Eacute;tude, Op. 740 No.&nbsp;14 on&nbsp;21 August.
&ldquo;From the moment Justus first came to my attention, I immediately sensed a remarkable young talent with an individual musical voice and genuine artistic curiosity. Even at this early stage in his career, he brings together pianistic sensitivity, compositional imagination and a natural ability to connect with audiences, both on stage and online. I am delighted to be working with him and look forward to accompanying his artistic development in the months and years ahead,&rdquo; says&nbsp;Marc Fritsch, Senior Director Marketing Special Projects &amp; Developing Artists Deutsche Grammophon.
On&nbsp;The Source, Eichhorn performs the Italian Concerto (inspired by the genre pioneered by Vivaldi) and the Adagio in D&nbsp;minor by Bach (after Marcello), Konzertmeister at Weimar&rsquo;s ducal court. He also includes&nbsp;Liebestraum&nbsp;No.&nbsp;3,&nbsp;Mephisto Waltz&nbsp;No.&nbsp;1 and further works by Liszt, who served as Kapellmeister extraordinaire at the same court 150 years later. Originally setting a poem by Goethe, Schubert&rsquo;s&nbsp;Heidenr&ouml;slein&nbsp;is heard here in the arrangement by Alfred Cortot.
Mendelssohn, a guest of Goethe in Weimar, is represented by one of the&nbsp;Lieder ohne Worte&nbsp;(Op. 30 No. 1), and Richard Strauss, another of the city&rsquo;s notable Kapellmeisters, by Reger&rsquo;s piano transcription of the song&nbsp;Morgen. Eichhorn was keen to reference the Bauhaus school, established in Weimar by architect Walter Gropius. His search for suitable works led him to the piano cycle&nbsp;In einer Nacht&nbsp;by Hindemith, a composer closely associated with the Bauhaus movement.
The recording also opens a window onto Eichhorn&rsquo;s daily practice. His clips of music by Czerny (Liszt&rsquo;s piano teacher) are among his most popular online content. Two studies appear on the album, one in its original form and one in the pianist&rsquo;s slowed-down version as well as in the original version with a twist. &ldquo;I wanted to try something new,&rdquo; he says. &ldquo;My goal was to create a salon-style atmosphere and transform the turbulent &eacute;tudes into something more meditative.&rdquo;
As well as the Vivaldi arrangement,&nbsp;The Source&nbsp;also features the world premiere recordings of a trio of original works by Eichhorn. As he explains, his own music tends to emerge from improvisation: &ldquo;I start with images in my mind&rsquo;s eye, and translate their mood and movement into sound.&rdquo;
Looking ahead to Eichhorn&rsquo;s future development, Deutsche Grammophon and Universal Music are committed to providing him with close, personalised support. The label will place particular emphasis on offering him long-term and responsible guidance, in order to support him on both an artistic and a personal level.
Justus Eichhorn was born into a family of musicians in Weimar in 2009. He began improvising on the piano at three, started lessons at six and made his debut at ten, performing Haydn&rsquo;s Piano Concerto in D major. Since then he has given both solo recitals and concerto performances worldwide, including a tour of China in 2025. Among his numerous awards are first prize at the 2019 Carl Bechstein Competition in Berlin, the 2021 Elba Festival Prize, and the 2022 Swiss Charity Award.
As well as attending Weimar&rsquo;s Musikgymnasium Schloss Belvedere, where he also studies conducting, Justus Eichhorn is a pupil of Grigory Gruzman at the Hochschule f&uuml;r Musik Franz Liszt. When not practising, studying or touring, he loves skiing and playing football.
In the 2026-27 season he will complete a Beethoven piano concerto cycle by performing No.&nbsp;4 at venues across Germany and in the Czech city of Hradec Kr&aacute;lov&eacute;. He will give recitals in France, Germany, Switzerland and Austria.
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2026 tour dates:
19 Sep&nbsp;&ndash; Six-Fours-les-Plages &middot;&nbsp;20 Sep&nbsp;&ndash; Uchaux &middot;&nbsp;3 Oct&nbsp;&ndash; Burrweiler (recitals) 11 Oct&nbsp;&ndash; Liederhalle, Stuttgart &middot;&nbsp;17 Oct&nbsp;&ndash; Freudenstadt &middot;&nbsp;18 Oct&nbsp;&ndash; &Ouml;hringen (Beethoven)
30 Oct&nbsp;&ndash; Speyer &middot;&nbsp;31 Oct&nbsp;&ndash; Villa Musica, Schloss Engers &middot;&nbsp;1 Nov&nbsp;&ndash; Mozartsaal, Stuttgart (recitals)
19 Nov&nbsp;&ndash; Heilbronn &middot;&nbsp;20 Nov&nbsp;&ndash; Ulm &middot;&nbsp;21 Nov&nbsp;&ndash; F&uuml;rth (Beethoven) &middot;&nbsp;28 Nov&nbsp;&ndash; Allerheiligen-Hofkirche, Munich 5 Dec&nbsp;&ndash; Villa Elisabeth, Berlin &middot;&nbsp;10 Dec &ndash; Elbphilharmonie, Hamburg (recitals)

MEREDI presents “White Flowers Take Their Bath”  in a new piano version

Armenian-German composer, pianist and producer MEREDI presents her new Single
&ldquo;White Flowers Take Their Bath&rdquo; is released on 19 June 2026
A new piano version of her track with 13.6 million streams
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&ldquo;&lsquo;White Flowers Take Their Bath&rsquo; is about the miracle of life itself and how, with light, life can grow seemingly out of nothing.&rdquo; &ndash; MEREDI
Armenian-German composer, pianist and producer&nbsp;MEREDI&nbsp;releases&nbsp;&ldquo;White Flowers Take Their Bath&rdquo;&nbsp;in a new piano version. Already counting&nbsp;13.6 million streams, the track is built around a single recurring melody, carried through shifting harmonies.
For MEREDI, the image of white flowers bathing in the sun is a metaphor for growth and unfolding. A single melody runs throughout the work, opening through different harmonies like a flower slowly turning towards the light.
In other news,&nbsp;MEREDI has entered into an exclusive publishing agreement with Universal Music Publishing Classics &amp; Screen GSA. She joins a distinguished roster of composers spanning generations and genres, from Puccini and Poulenc to Julia Wolfe and Kevin Puts, and from Isobel Waller-Bridge and Jerskin Fendrix to Max Richter and Ang&eacute;lica Negr&oacute;n.

The Sound of the Essential

With &ldquo;Alina&rdquo;, Arvo P&auml;rt created a recording that focuses entirely on the essence of his musical language. Now appearing on vinyl for the first time, this landmark recording returns to the origins of the Tintinnabuli style and to two works &ndash; &ldquo;F&uuml;r Alina&rdquo; and &ldquo;Spiegel im Spiegel&rdquo; &ndash; that remain among the Estonian composer&rsquo;s most celebrated compositions.

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<a href="https://mlp.universal-music.de/arvo-paert/arvo-paert/2832/eng" target="_blank" rel="noopener">More information about Arvo P&auml;rt, his releases and more can be found here.</a>
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&ldquo;The greatest danger of listening to Alina is that much of what you hear afterwards suddenly sounds like noise&mdash;too much noise.&rdquo; With these words, critic Rob Cowan described the impact of the album in Gramophone, a recording that has been regarded as one of the composer&rsquo;s most important releases since its original publication. Indeed, &ldquo;<a href="https://www.jazzecho.de/ecm-sounds/diskografie/arvo-paert-alina-62207" target="_blank" rel="noopener">Alina</a>&rdquo; achieves an extraordinary presence with the most economical of means. Nearly three decades after its creation, the album remains strikingly timeless.
The recording was made in July 1995 at Frankfurt&rsquo;s Festeburgkirche. Together with producer Manfred Eicher, Arvo P&auml;rt assembled four musicians who shared a particularly close affinity with his musical language: violinist Vladimir Spivakov, cellist Dietmar Schwalke, and pianists Sergej Bezrodny and Alexander Malter. At the centre of the project were the piano piece &ldquo;F&uuml;r Alina&rdquo; from 1976 and &ldquo;Spiegel im Spiegel&rdquo;, composed two years later. Their various interpretations gave rise to an album that creates a remarkable sense of dramatic arc through only the sparsest musical means. In the liner notes, Hermann Conen describes the concept as a concentration on an &ldquo;indispensable core of the material.&rdquo;
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The two performances of &ldquo;F&uuml;r Alina&rdquo; are framed by three interpretations of &ldquo;Spiegel im Spiegel.&rdquo; The title refers directly to the work&rsquo;s underlying musical principle: movements are mirrored, and melodic lines return to their point of origin. The recordings featuring Vladimir Spivakov and Sergej Bezrodny open and close the album, while Dietmar Schwalke and Alexander Malter present a version for cello and piano between them. The different instrumentations reveal the work in a new light each time.
For P&auml;rt himself, &ldquo;F&uuml;r Alina&rdquo; marked a decisive turning point. The short piano piece was composed in 1976 after a long period of searching and is now regarded as the work in which his Tintinnabuli style first took clear shape. Looking back, the composer described his state at the time by saying, &ldquo;I was like an upbeat hanging in the air, waiting for the phrase to begin.&rdquo; In many ways, &ldquo;Alina&rdquo; feels like a new beginning. Almost everything superfluous has disappeared from the music. There is no fixed metre, no prescribed tempo, and little more than a handful of notes unfolding out of silence.
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The special significance of &ldquo;Alina&rdquo; is also reflected in its lasting influence. Jeremy Eichler described the album in The New York Times as one of the essential recordings for entering P&auml;rt&rsquo;s musical world, praising the way it allows listeners to experience the early Tintinnabuli style in its &ldquo;most essential form.&rdquo; Other critics have highlighted its unique combination of extreme simplicity and emotional depth. Its impact has long extended far beyond the world of classical music: artists including Bj&ouml;rk, Thom Yorke, and Stuart Braithwaite of Mogwai have all described P&auml;rt&rsquo;s music as a formative artistic experience.
With this new vinyl edition, this monumental work takes on a new form. &ldquo;Alina&rdquo; is released as an LP edition featuring a four-page insert and Hermann Conen&rsquo;s original liner notes. Above all, however, this reissue offers an opportunity to rediscover a recording that continues to demonstrate, with remarkable clarity, just how much expressive power can reside in the greatest possible reduction.
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Hildur Guðnadóttir Reimagines Two Decades of Music  on New Orchestral Album 'This Will Be Us'

The star composer-performer is joined on the album by Robert Ames and the Deutsches Symphonie-Orchester Berlin
Together they have recorded orchestral versions of tracks from three of Gu&eth;nad&oacute;ttir&rsquo;s early albums and two brand-new pieces
This Will Be Us&nbsp;comes out on 23&nbsp;October 2026
&ldquo;Hildur never shies away from the darkness, but lights a path through it, with purposeful intention&rdquo; &nbsp;Sarah Polley, film director
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Revered today for her multi-award-winning scores for film and TV (Chernobyl,&nbsp;Joker,&nbsp;T&aacute;r),&nbsp;Hildur Gu&eth;nad&oacute;ttir&nbsp;released her debut album,&nbsp;Mount A, in September 2006. Twenty years on, the Icelandic composer is celebrating this anniversary by reimagining some of her earlier music. For her latest&nbsp;Deutsche Grammophon&nbsp;album,&nbsp;This Will Be Us, she has recorded orchestral versions of eight tracks that first appeared on&nbsp;Mount A,&nbsp;Without Sinking&nbsp;(2009) or&nbsp;Saman&nbsp;(2014), as well as two newly written pieces. Gu&eth;nad&oacute;ttir herself plays solo cello, performing with the&nbsp;Deutsches Symphonie-Orchester Berlin&nbsp;and conductor&nbsp;Robert Ames. She also produced the album, which was recorded, mixed and mastered by her long-time collaborator&nbsp;Francesco Donadello.
Set for release on&nbsp;23&nbsp;October 2026,&nbsp;This Will Be Us&nbsp;includes notes by Hildur herself and by film-maker&nbsp;Sarah Polley. Gu&eth;nad&oacute;ttir will perform at a&nbsp;special launch event at the Berlin Philharmonie&nbsp;on&nbsp;25&nbsp;October&nbsp;and, to coincide with the anniversary, DG is reissuing the three earlier albums as LPs on&nbsp;3&nbsp;July&nbsp;&ndash; a&nbsp;first vinyl release&nbsp;for&nbsp;Mount&nbsp;A.
Hildur Gu&eth;nad&oacute;ttir grew up making music with others, in choirs, bands and orchestras. &ldquo;That world meant everything to me,&rdquo; she recalls. &ldquo;But I felt I needed some space to hear my own thoughts.&rdquo; She recorded what became&nbsp;Mount&nbsp;A&nbsp;alone with her cello, but had to be persuaded by her friend Sk&uacute;li Sverrisson to share her work with the outside world. The album was released under the pseudonym &ldquo;Lost in Hildurness&rdquo;, a nickname friends had given her because she was so often lost in her own world.
She was then joined by Sverrisson, fellow composer J&oacute;hann J&oacute;hannsson, and her father Gu&eth;ni Franzson and others on her subsequent albums,&nbsp;Without Sinking,&nbsp;Leyf&eth;u Lj&oacute;sinu&nbsp;and&nbsp;Saman. &ldquo;Even though the music on these records is deeply personal,&rdquo; she says, &ldquo;my closest friends and family have always been essential to my having the courage to keep playing and to share the music at all.&rdquo;
That courage has helped Gu&eth;nad&oacute;ttir establish herself as one of the leading composers of our age, notably in the soundtrack world. Her many accolades include two Grammy Awards&reg; (Chernobyl,&nbsp;Joker), an Academy Award (Joker), an Emmy Award (Chernobyl) and a Golden Globe (Joker). In the last few years she has also written acclaimed scores for films as varied as Todd Field&rsquo;s&nbsp;T&aacute;r, Sarah Polley&rsquo;s&nbsp;Women Talking, Kenneth Branagh&rsquo;s&nbsp;A Haunting in Venice, Nia DaCosta&rsquo;s&nbsp;Hedda&nbsp;and&nbsp;28 Years Later: The Bone Temple&nbsp;and Maggie Gyllenhaal&rsquo;s&nbsp;The Bride!, while&nbsp;The Fact of the Matter, for choir and orchestra, was premiered at the 2022 BBC Proms.&nbsp;&nbsp;
Mount&nbsp;A&rsquo;s 20th anniversary was an opportunity to take stock. &ldquo;Seeing that number on the horizon felt like a good moment to pause,&rdquo; says Gu&eth;nad&oacute;ttir. &ldquo;When I was trying to be a one-person string orchestra, I always dreamed of having more people playing with me. I decided to give that young person the anniversary gift of hearing her music played by an orchestra.&rdquo;
On&nbsp;This Will Be Us, she does just that, recording beautifully reinvented versions of &ldquo;In Gray&rdquo; (Mount&nbsp;A), &ldquo;Ascent&rdquo;, &ldquo;Erupting Light&rdquo;, &ldquo;Opaque&rdquo;, &ldquo;Overcast&rdquo; and &ldquo;Unveiled&rdquo; (Without Sinking) and &ldquo;B&aelig;r&rdquo; and &ldquo;Birting&rdquo; (Saman), together with new tracks &ldquo;Blind Sarabande&rdquo; and &ldquo;The Song That Never Was&rdquo;, with Ames and the full forces of the DSO Berlin.
As her friend and colleague Sarah Polley writes in her notes for the album, Gu&eth;nad&oacute;ttir&rsquo;s fans will recognise many of these tracks, &ldquo;but here they take on a new life, an expansive scope, and a sense of being in fellowship with others. [They are] the work of someone who listens long enough to hear and who understands the movement of seeking and finding connection in both the light and the dark.&rdquo;

Floating Points Disrupts with New Album Mere Mortals,  an Electrifying Reimagining of Pandora’s Myth 

One of Britain&rsquo;s most respected sonic innovators has composed a thrilling score for a futuristic retelling of the myth of Pandora
Like the live version, the recording is produced by Floating Points, who also performs alongside the San Francisco Ballet Orchestra 
Mere Mortals will be released in all formats on 28 August 2026
Her Gift will be shared online on 5 June&nbsp;
&ldquo;The score, [Shepherd&rsquo;s] first for ballet, is a thing of sonic wonder &hellip; It&rsquo;s an absolute aural roller coaster&rdquo;
San Francisco Chronicle
Composer-producer-musician-DJ Floating Points, aka Sam Shepherd, is an artist of genre-defying versatility. Classically trained, revered on the international club scene, and with a Mercury Prize-shortlisted jazz album to his name, in January 2024 he played synths alongside the San Francisco Ballet Orchestra as the company gave the world premiere of his first full-length ballet score, Mere Mortals. Commissioned and directed by the San Francisco Ballet&rsquo;s Artistic Director Tamara Rojo, with choreography by Aszure Barton and design and visuals by Hamill Industries, the ballet reimagines the story of Pandora in a fusion of myth, music and movement. 
Together with the San Francisco Ballet Orchestra, Floating Points has now recorded his Mere Mortals score for Deutsche Grammophon. A potent mix of elegiac strings, apocalyptic brass and pulsing electronics, the 14-track album will be released in all formats on 28&nbsp;August 2026. A standalone extended single, Falling to Earth, is already available online, and taster tracks from the album will be shared in the months to come, starting with Her Gift on 5&nbsp;June. 
&ldquo;Her Gift is a duet written for harp and Therevox ET 4.3.,&rdquo; explains Shepherd, &ldquo;a dance between Epimetheus and Pandora: he is falling in love with her. Prometheus appears at the very end to warn his brother off his pursuit. The harpist on the recording is the incredibly talented Miriam Adefris, who performed with me on my last tour and taught me how to write for the harp.&rdquo;
Sam Shepherd grew up immersed in music. A chorister at Manchester Cathedral, he studied piano and composition in his teens at Chetham&rsquo;s School of Music and often attended concerts with his father. On one occasion he saw Rosas perform Anne Teresa De Keersmaeker&rsquo;s work Rain to Steve Reich&rsquo;s Music for 18 Musicians at the Manchester MEN Arena: &ldquo;I had never really seen dance before and it was just phenomenal.&rdquo;
Years later, Shepherd met Tamara Rojo, incoming director of San Francisco Ballet. By this time he had achieved fame as the experimental, eclectic DJ and producer Floating Points, with a string of hit tracks and the acclaimed albums Elaenia, Crush and Promises (with jazz icon Pharoah Sanders and the London Symphony Orchestra). Rojo asked if he might consider composing a short piece for her new company. &ldquo;I&rsquo;d never even considered writing a ballet before, but I replied, &lsquo;You know, I think I&rsquo;d want to do a whole show.&rsquo; And that&rsquo;s how it happened!&rdquo;
He explored various ideas, including a ballet based on the work of the Manhattan Project &ndash; the secret World War Two programme that developed the first atomic bombs. His partner, dancer and choreographer Hannah Ekholm, noted the parallels with Pandora&rsquo;s inadvertent unleashing of evil into the world, and this captured Shepherd&rsquo;s imagination: &ldquo;Every day there&rsquo;s a new Pandora, right? A new can of worms being opened.&rdquo; Inspired by classicist-author-broadcaster Natalie Haynes, he also looked into the way misogyny had woven its way into the myth. &ldquo;The translations [of Pandora&rsquo;s story] robbed her of her agency, whilst describing her as being &lsquo;gifted&rsquo; rather than the more accurate &lsquo;giving&rsquo;. Pandora&rsquo;s not about bringing hell to Earth. She really represents curiosity and change.&rdquo;
The resulting Mere Mortals score is rich in texture and effect, and captivating even without the choreography and visuals of a staged performance. The lyrical solo violin in Hope (Cordula Merks) contrasts starkly with the dissonance and pummelling percussion of Rage of the Gods, for example, while the exquisite harp melody in Her Gift offers a moment&rsquo;s reflection before the eeriness of Opening of the Jar augurs disaster. 
As the SFBO&rsquo;s Music Director and Principal Conductor Martin West notes: &ldquo;The orchestral music emerges from an electronic haze &ndash; not in contrast to it, but as if growing organically out of the same material [and thus mirroring] the ballet&rsquo;s central question: where does the human end and the machine begin?&rdquo; He praises the score as &ldquo;unmistakably of this moment, yet rooted in the formal discipline that makes great ballet music great. There are themes that develop, textures that breathe, and silences that speak.&rdquo;
The ballet imagines a new ending to the myth, referencing climate crisis &ndash; Hope, in the shape of a bird, flies free from Pandora&rsquo;s jar but can only circle a planet reduced to ash. &ldquo;My favourite part of the whole process was writing Nowhere to land,&rdquo; says Shepherd. &ldquo;When I heard the music I&rsquo;d written on the page transformed by Cordula&rsquo;s exquisite violin-playing it made me excited to write more in the future!&rdquo;
Floating Points will appear live in the European premiere of Mere Mortals at the 2026 Edinburgh International Festival (28&nbsp;August, with the Royal Scottish National Orchestra; further performances 29 &amp; 30&nbsp;August), and when the work transfers to Sadler&rsquo;s Wells Theatre in London (9-12&nbsp;September, with the Royal Ballet Sinfonia).

One of Britain&rsquo;s most respected sonic innovators has composed a thrilling score for a futuristic retelling of the myth of Pandora
Like the live version, the recording is produced by Floating Points, who also performs alongside the San Francisco Ballet Orchestra
Mere Mortals&nbsp;will be released in all formats on 28 August 2026
Her Gift&nbsp;will be shared online on 5&nbsp;June&nbsp;
&ldquo;The score, [Shepherd&rsquo;s] first for ballet, is a thing of sonic wonder &hellip; It&rsquo;s an absolute aural roller coaster&rdquo;
San Francisco Chronicle
Composer-producer-musician-DJ&nbsp;Floating Points,&nbsp;aka Sam Shepherd, is an artist of genre-defying versatility. Classically trained, revered on the international club scene, and with a Mercury Prize-shortlisted jazz album to his name, in January 2024 he played synths alongside the&nbsp;San&nbsp;Francisco Ballet Orchestra&nbsp;as the company gave the world premiere of his first full-length ballet score,&nbsp;Mere Mortals. Commissioned and directed by the&nbsp;San Francisco Ballet&rsquo;s&nbsp;Artistic Director Tamara Rojo, with choreography by&nbsp;Aszure Barton&nbsp;and design and visuals by&nbsp;Hamill Industries, the ballet reimagines the story of Pandora in a fusion of myth, music and movement.
Together with the San Francisco Ballet Orchestra, Floating Points has now recorded his&nbsp;Mere Mortals&nbsp;score for&nbsp;Deutsche Grammophon. A potent mix of elegiac strings, apocalyptic brass and pulsing electronics, the 14-track album will be released in all formats on&nbsp;28&nbsp;August 2026. A standalone extended single,&nbsp;Falling to Earth, is already available online, and taster tracks from the album will be shared in the months to come, starting with&nbsp;Her Gift&nbsp;on&nbsp;5&nbsp;June.
&ldquo;Her Gift&nbsp;is a duet written for harp and Therevox ET 4.3.,&rdquo; explains Shepherd, &ldquo;a dance between Epimetheus and Pandora: he is falling in love with her. Prometheus appears at the very end to warn his brother off his pursuit. The harpist on the recording is the incredibly talented&nbsp;Miriam Adefris, who performed with me on my last tour and taught me how to write for the harp.&rdquo;
Sam Shepherd grew up immersed in music. A chorister at Manchester Cathedral, he studied piano and composition in his teens at Chetham&rsquo;s School of Music and often attended concerts with his father. On one occasion he saw Rosas perform Anne Teresa De Keersmaeker&rsquo;s work&nbsp;Rain&nbsp;to Steve Reich&rsquo;s&nbsp;Music for 18 Musicians&nbsp;at the Manchester MEN Arena: &ldquo;I had never really seen dance before and it was just phenomenal.&rdquo;
Years later, Shepherd met Tamara Rojo, incoming director of San Francisco Ballet. By this time he had achieved fame as the experimental, eclectic DJ and producer Floating Points, with a string of hit tracks and the acclaimed albums&nbsp;Elaenia,&nbsp;Crush&nbsp;and&nbsp;Promises&nbsp;(with jazz icon Pharoah Sanders and the London Symphony Orchestra). Rojo asked if he might consider composing a short piece for her new company. &ldquo;I&rsquo;d never even considered writing a ballet before, but I replied, &lsquo;You know, I think I&rsquo;d want to do a whole show.&rsquo; And that&rsquo;s how it happened!&rdquo;
He explored various ideas, including a ballet based on the work of the Manhattan Project &ndash; the secret World War Two programme that developed the first atomic bombs. His partner, dancer and choreographer Hannah Ekholm, noted the parallels with Pandora&rsquo;s inadvertent unleashing of evil into the world, and this captured Shepherd&rsquo;s imagination: &ldquo;Every day there&rsquo;s a new Pandora, right? A new can of worms being opened.&rdquo; Inspired by classicist-author-broadcaster Natalie Haynes, he also looked into the way misogyny had woven its way into the myth. &ldquo;The translations [of Pandora&rsquo;s story] robbed her of her agency, whilst describing her as being &lsquo;gifted&rsquo; rather than the more accurate &lsquo;giving&rsquo;. Pandora&rsquo;s not about bringing hell to Earth. She really represents curiosity and change.&rdquo;
The resulting&nbsp;Mere Mortals&nbsp;score is rich in texture and effect, and captivating even without the choreography and visuals of a staged performance. The lyrical solo violin in&nbsp;Hope&nbsp;(Cordula Merks) contrasts starkly with the dissonance and pummelling percussion of&nbsp;Rage of the Gods, for example, while the exquisite harp melody in&nbsp;Her Gift&nbsp;offers a moment&rsquo;s reflection before the eeriness of&nbsp;Opening of the Jar&nbsp;augurs disaster.
As the SFBO&rsquo;s Music Director and Principal Conductor&nbsp;Martin West&nbsp;notes: &ldquo;The orchestral music emerges from an electronic haze &ndash; not in contrast to it, but as if growing organically out of the same material [and thus mirroring] the ballet&rsquo;s central question: where does the human end and the machine begin?&rdquo; He praises the score as &ldquo;unmistakably of this moment, yet rooted in the formal discipline that makes great ballet music great. There are themes that develop, textures that breathe, and silences that speak.&rdquo;
The ballet imagines a new ending to the myth, referencing climate crisis &ndash; Hope, in the shape of a bird, flies free from Pandora&rsquo;s jar but can only circle a planet reduced to ash. &ldquo;My favourite part of the whole process was writing&nbsp;Nowhere to land,&rdquo; says Shepherd. &ldquo;When I heard the music I&rsquo;d written on the page transformed by Cordula&rsquo;s exquisite violin-playing it made me excited to write more in the future!&rdquo;
Floating Points&nbsp;will appear live in the European premiere of&nbsp;Mere Mortals&nbsp;at the 2026&nbsp;Edinburgh International Festival&nbsp;(28&nbsp;August, with the Royal Scottish National Orchestra; further performances 29 &amp; 30&nbsp;August), and when the work transfers to&nbsp;Sadler&rsquo;s Wells Theatre in London (9-12&nbsp;September, with the Royal Ballet Sinfonia).

Agnes Obel marks her long-awaited return with 'The Meaning of Flowers'

&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&ldquo;The world created by Agnes Obel has that same magical realism that writer Angela Carter tapped into: beautifully unsettling. Feet in the forest, head in the stars.&rdquo;
Joyzine, on&nbsp;Myopia
The Danish-born, Berlin-based artist continues to defy genres across 12 atmospheric and eclectic tracks
The Meaning of Flowers&nbsp;considers how new life remakes everything &ndash; the body, the mind, the self and one&rsquo;s sense of connection to the wider world
Singer-songwriter, multi-instrumentalist and producer&nbsp;Agnes Obel&nbsp;announces her new studio album &ndash; a follow-up to the widely acclaimed&nbsp;Myopia&nbsp;(2020).&nbsp;The Meaning of Flowers&nbsp;is woven together from different strands of thought and inspiration by one of the most curious minds in contemporary music today. Through its 12 tracks, Obel explores the heightened sense of interconnection with all living things she experienced during pregnancy and, among other themes, the significance of birth, growth and metamorphosis in the natural world. Her new music draws on a broad range of sources, from the poetry of Enheduanna (the world&rsquo;s first named author) and the ideas of philosophers Hannah Arendt and Emanuele Coccia, to the Danish pop scene of the 80s and 90s.
Written, recorded, arranged and produced by Obel in her own studio in Berlin,&nbsp;The Meaning of Flowers&nbsp;features Agnes herself on vocals (some pitch-shifted), piano, keys, synths and samples. Guest musicians join her on violin, viola, cello, bass, lap steel, harmonium, flute, sax, percussion and backing vocals. The album comes out on&nbsp;Deutsche Grammophon&nbsp;&ndash; digitally, on CD and on vinyl &ndash; on&nbsp;18&nbsp;September 2026. As a taster,&nbsp;Laymelli&nbsp;is available to stream and download from&nbsp;21&nbsp;August.
Since recording&nbsp;Myopia, Obel has given birth to her first child.&nbsp;The Meaning of Flowers&nbsp;reflects the emotional impact of motherhood, Obel&rsquo;s intellectual interest in the subject &ndash; notably Arendt&rsquo;s concept of natality, &ldquo;understood as the human capacity for new beginnings&rdquo; &ndash; and the fact that the temporarily altered neuroplasticity of her brain took her thought and compositional processes in fresh directions.
&ldquo;I wanted to see if I could get close to the feeling of a new beginning,&rdquo; says Obel of the title track. &nbsp;&ldquo;It shows itself in the experience of interconnectedness and a new expansive feeling of love that will never end. The point when the inner monologue becomes something interactive and expansive &ndash; beyond your own life &ndash; and opens your mind to a new and richer notion of life.&rdquo;
Blood so Red&nbsp;and&nbsp;Gemini&nbsp;emerged as Obel was &ldquo;playing around&rdquo; with rhythms, piano and voice.&nbsp;Blood so Red&nbsp;came from her reading of Enheduanna&rsquo;s hymns to Inanna &ndash; goddess of childbirth, love, sex, song and war &ndash; whose presence &ldquo;made its way into the song, lifting up my own epiphanies on childbirth and the laws of the body and these experiences outside of language that link us across time and space&rdquo;.&nbsp;Gemini&nbsp;and&nbsp;Laymelli&nbsp;too were inspired by Enheduanna, but also by Obel&rsquo;s awareness of a complex universe &ldquo;held together by the beauty and power of life and metamorphosis&rdquo;. She drew on Coccia&rsquo;s&nbsp;Life of Plants&nbsp;and&nbsp;Metamorphoses&nbsp;for the imagery of seeds and the life cycle of a butterfly.
There are other influences here too, including 70s movie scores in&nbsp;Don&rsquo;t Look Down&nbsp;and Danish pop in&nbsp;Never Been: &ldquo;In the 80s pop song world, to love was to be free and who you are unapologetically.&rdquo; And Obel employs a joyful combination of timbres in&nbsp;Tangerine, the only instrumental track, as sax arpeggios join celesta and piano, in a &ldquo;bubbly new wondrous friendship&rdquo;.
The Meaning of Flowers&nbsp;is dedicated to Obel&rsquo;s daughter: &ldquo;she who has changed me and raised me and taught me so much &ndash; and I can feel so much more awaits to be learned&rdquo;.
&nbsp;
Agnes Obel &ndash; forthcoming tour dates:
22 Aug&nbsp;&ndash; KUNST!RASEN, Bonn &middot;&nbsp;23 Aug&nbsp;&ndash; Golden Leaves Festival, Darmstadt
26 Aug&nbsp;&ndash; Openluchttheater Caprera, Bloemendaal &middot;&nbsp;27/28 Aug&nbsp;&ndash; Amsterdamse Bostheater, Amstelveen
24 Sep&nbsp;&ndash; Queensland Performing Arts Centre, Brisbane &middot;&nbsp;26 Sep&nbsp;&ndash; Hamer Hall, Melbourne
27 Sep&nbsp;&ndash; Sydney Opera House &middot;&nbsp;29 Sep &ndash; New Zealand International Convention Centre, Auckland
&nbsp;
Agnes Obel &ndash;&nbsp;The Meaning of Flowers
Books and poetry read while making the album
&nbsp;
Fiction and non-fiction:
Arendt, Hannah,&nbsp;The Human Condition, 1958
Banks, Jennifer,&nbsp;Natality:&nbsp;Toward a Philosophy of Birth, 2023
Bowen-Moore, Patricia,&nbsp;Hannah Arendt&rsquo;s Philosophy of Natality, 1989
Butler, Octavia,&nbsp;Dawn, 1987
Cage, John,&nbsp;Silence: Lectures and Writings, 1961
Coccia, Emanuele,&nbsp;The Life of Plants:&nbsp;A Metaphysics of Mixture, 2019
Coccia, Emanuele,&nbsp;Metamorphoses, 2021
Jones, Lucy,&nbsp;Matrescence: On the Metamorphosis of Pregnancy, Childbirth and Motherhood, 2023
Morton, Timothy,&nbsp;All Art Is Ecological, 2018
N&oslash;rg&aring;rd, Per,&nbsp;Artikler 1962&ndash;1982, Ivan Hansen (ed.), 1982
Rasmussen, Karl Aage,&nbsp;Musik i det tyvende &aring;rhundrede: en fort&aelig;lling, 2011
&nbsp;
Poetry:
Akbar, Kaveh (ed.),&nbsp;The Penguin Book of Spiritual Verse: 100 Poets on the Divine, 2022
Christensen, Inger,&nbsp;Samlede Digte, 2009
Enheduanna,&nbsp;Enheduana: The Complete Poems of the World&rsquo;s First Author, trans. Sophus Helle, 2023 (orig. c.2300 BCE)
Graham, Jorie,&nbsp;The Dream of the Unified Field, 2002
Kurtz, Ella; King, Simone; Delahunty, Claire (eds.),&nbsp;What We Carry: Poetry on Childbearing, 2021
&nbsp;
The album will be released on 18&nbsp;September 2026 &ndash;&nbsp;listen to&nbsp;Laymelli&nbsp;and pre-order the album&nbsp;<a href="http://dg.lnk.to/themeaningofflowers">here</a>

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