Hungarian-born Sándor Veress (1907-1992) is a sadly neglected figure in modern music. Despite his pupilage under Bela Bartók and Zoltán Kodály, and even his succession over the latter as professor of composition at the Budapest School of Music in 1943, Veress has never attained the same international recognition as his two most successful compatriots. One might blame his preference for solitude or his idiomatic methodology for keeping him in obscurity. Yet as one who made the most of his outlier status and ideological exile, he seems never to have been one to wallow in self-pity. Exposed to much of the folk music that also captivated his mentors, Veress nurtured that same spirit when sociopolitical upheaval exacerbated his emigration to Switzlerland in 1949. Whereas Kodály in particular saw cultural preservation as central to the musical act, Veress saw it as an incision to be teased open and unraveled.

Soprano Anna Prohaska and violinist Patricia Kopatchinskaja are both well known for their taste for eclecticism, experimentation and adventure. As they are also are friends, it was only to be expected that one day they would devise and record a programme together, and here it is: Maria Mater Meretrix… What is the relationship between Hildegard von Bingen and Gustav Holst, Antonio Caldara and Lili Boulanger? The two musicians and their partners in Camerata Bern explore the image of woman through ten centuries of music: the figure of the Virgin Mary – among other works, the triptych Magnificat - Ave Maria - Stabat Mater (1967/68) by Frank Martin, an unclassifiable composer whom both artists venerate – but also Mary Magdalene, in pieces by Caldara and Kurtág. The Saint, the Mother, the Whore… The expression of two women musicians of today, a journey full of meaning and a sensory exploration featuring solos, duets, quartets and works for large orchestra.

For those that prefer to hear these works on piano rather than harpsichord, you can hardly find more enjoyable, illuminating, and elegant performances than these. Andras Schiff has surely become one of the most prominent proponents of J.S. Bach on the piano and its hard to believe these particular discs were ever allowed to slip from commercial availability. Their re-issue here is reason to rejoice. It is with good reason that another chapter in the career of Andras Schiff has started recently with his new series of Beethoven Sonatas on ECM, and of course more Bach. He is a true master, and the Bach Concerto recordings with the Chamber Orchestra of Europe, led by Schiff himself, exemplify this and count as essential listening.

This recording presents the double concerto for violin, cello and orchestra of the Spanish composer Francisco Coll, born in 1985. Les Plaisirs Illuminés, a title inspired by Dalí’s painting of the same name, is rooted in Spanish traditions, including flamenco, yet is resolutely modern: ‘Its music is very lively rhythmically, it dances and sings – but at the same time it is very abrupt, always in search of extremes’, says Patricia Kopatchinskaja. For this world premiere conducted by the composer, she is reunited with a longstanding partner who pursues an equally brilliant international career, the cellist Sol Gabetta.