Capuçon, with pianist Jérôme Ducros, also his partner for a Virgin Classics Schubert recital released in 2006, has selected favourite encore pieces such as Kreisler’s mercurial Liebesleid and Dvorák's lilting Humoreske (arranged by Heifetz), tender episodes like Debussy's Clair de lune and Tchaikovsky's Valse sentimentale, works by the Romantics – Schubert (with the Ave Maria arranged by Capuçon himself), Mendelssohn and Schumann (transcriptions of numbers from the song cycle Frauenliebe und –Leben), and by composers of the 20th century – Strauss, Prokofiev, Szymanowski, Stravinsky, Korngold and the Romanian Grigoras Dinicu (reputedly judged by Heifetz as the greatest violinist he had ever heard).

This is one of the greatest chamber CDs, bringing together Chausson's timeless Concert with his elusive String Quartet in the most beautiful, idiomatic performances imaginable. Augustin Dumay and Jean-Philippe Collard have never been bettered as a duo, but they particularly are in their element in this music, given its full expression by their passion and strength, which combines with a sense of style that is as natural as speech.

Of all the composers whose names are far better known than their music, Czerny must be the most famous. Czerny? Oh yes, he was the chap who wrote those 'velocity exercises', the medicine pianists must take if they are to get better. True, but that wasn't all, his opus numbers leave little change out of 850! So why the neglect? Maybe there are two reasons. First, as a pupil of Beethoven, a teacher of Liszt and a contemporary of Schubert, he was born at the wrong time, surrounded by compositional giants. Second, it was his large output of didactic works and his eminence as a teacher that shaped his image, and his emphasis on technical brilliance was not always helpful to the balance of his music.

The intervening dozen years since I reviewed Hyperion’s initial release of four English Violin Concertos (66865, 20:2) may not have witnessed a surge of interest in these works; nevertheless, the panache that Elizabeth Wallfisch brought to them in her recording sessions in January 1996 has hardly paled with the passage of time. These violinist-composers, contemporaries of Viotti and Mozart, wrote in an Italianate style, with woodwind splashes (all four concertos include oboes and horns, and Linley’s adds flutes as well) that enhance the kind of concertante symphonic sound which Paul Stoeving noted in Viotti’s concertos.

It would be unkind to point out that Lorrie Morgan looks a little the worse for wear on the cover of Show Me How – if she didn't do a song on that very subject on the album ("Now my idea of letting it all hang out/Sure has changed with time/And that's hard on a bombshell"), and if she didn't have a perfect right. So it's doubly a pleasure to find that Morgan sounds, at an age that usually takes its toll on the tight throats of female country vocalists, better than ever.

The Mothers Of Invention's Freak Out (2022 Japanese exclusive limited edition 17-track Mono CD, the debut album from Frank Zappa released in 1966, this edition includes the Bonus Single Version of Trouble Comin' Every Day and Who Are TheBrain Police?

Ennio Morricone (1928 - 2020) is a legendary institution among the film music composers of the 20th century. Behind the mainstream side of his production, hugely celebrated by critics and acclaimed by his audience, CAM Sugar focuses on a "Morricone Segreto" (Secret Morricone).

Between 1985 and 1991, John Fogerty roared back onto the live music scene, delivering a powerful resurgence that blended fresh solo hits with the timeless spirit of Creedence Clearwater Revival. After years away from the spotlight, Fogerty returned with fire in his soul and a voice that hadn't aged a day - reclaiming his place as one of rock's most electrifying performers. Homespun brings you a selection of three live radio broadcasts, revisited and remastered. First stop is the Showtime Special, on the A&M Soundstage, from Los Angeles on June 18th 1985 broadcast on WNEW-FM. From there we take a trip in 1989 to the Henry J. Kaiser Convention Center, Oakland, CA on November 26th 1989 with broadcast from KQED-TV. Finally, we finish with the Bill Graham Tribute Concert at Golden Gate Park, San Francisco, CA from November 3rd Broadcast in 1991 on KOLA 99.9 FM. Fogerty's live performances are characterized by their vitality and a seamless blend of his solo work with classics.

Between 1985 and 1991, John Fogerty roared back onto the live music scene, delivering a powerful resurgence that blended fresh solo hits with the timeless spirit of Creedence Clearwater Revival. After years away from the spotlight, Fogerty returned with fire in his soul and a voice that hadn't aged a day - reclaiming his place as one of rock's most electrifying performers. Homespun brings you a selection of three live radio broadcasts, revisited and remastered. First stop is the Showtime Special, on the A&M Soundstage, from Los Angeles on June 18th 1985 broadcast on WNEW-FM. From there we take a trip in 1989 to the Henry J. Kaiser Convention Center, Oakland, CA on November 26th 1989 with broadcast from KQED-TV. Finally, we finish with the Bill Graham Tribute Concert at Golden Gate Park, San Francisco, CA from November 3rd Broadcast in 1991 on KOLA 99.9 FM. Fogerty's live performances are characterized by their vitality and a seamless blend of his solo work with classics.