Tom Ripley - cool, urbane, wealthy, and murderous - lives in a villa in the Veneto with Luisa, his harpsichord-playing girlfriend. A former business associate from Berlin's underworld pays a call asking Ripley's help in killing a rival. Ripley - ever a student of human nature - initiates a game to turn a mild and innocent local picture framer into a hit man. The artisan, Jonathan Trevanny, who's dying of cancer, has a wife, young son, and little to leave them. If Ripley draws Jonathan into the game, can Ripley maintain control? Does it stop at one killing? What if Ripley develops a conscience?

We know that Brahms was a great enthusiast of the keyboard and yet he composed few works exclusively for piano. Accordingly, the Variations on a Theme by Joseph Haydn and Sonata for Two Pianos are all the more precious with their scores containing the full harmonic complexity and tonal diversity of his music, made sublime by the nimble fingers of Éric Le Sage and Théo Fouchenneret. This is a pivotal milestone in the huge endeavour of producing the Complete Works of Brahms undertaken by B Records since 2017

DVDFab is one of the top DVD copy and backup software applications available on the market. Highlights include DVD and video conversion, Blu-Ray decryption and DVD data recovery abilities. All of these, together with the DVD/Blu-Ray creation features make it one of the most versatile DVD management suites ever to meet its category.

The claviorganum is not an instrument we hear much from these days, but versions of this cross between a harpsichord and an organ – which could be played individually or together, on one or two manuals – were by no means a rare sight in Europe between the 15th and 18th centuries, with Henry VIII owning several. What's more, it was no Frankenstein creation for mere curiosity's sake, but instead an eminently practical piece of problem-solving, because while the harpsichord is perfectly suited to fast, brilliant passagework, but can neither sustain long notes nor change tone or dynamic, the slightly-less-horizontally-nimble organ counts those latter deficiencies as its key strengths. As for why we haven't seen a resurgence of claviorganum sightings as period performance has gone mainstream, perhaps it's a combination of very few examples having survived in their original state, and the fact that composers of that period rarely specified on their manuscripts as to which keyboard instrument should be used.

Alan Jackson will be releasing a brand new studio album on 14th May including 21 new tracks** This is the first country release in over 5 years. Alan Jackson is one of the best-selling music artists of all-time, having sold over 75 million records worldwide, with 44 million sold in the United States alone. He has had 66 songs appear on the Billboard Hot Country Singles & Tracks chart; of the 66 titles, and six featured singles, 38 have reached the top five and 35 have claimed the number one spot.

The Belgian composer, Marcel Poot, was one of the most striking musical figures of his time, with a spicy compositional style that exemplified his zest for life. His cycle of seven symphonies, the earliest of which show the influence of Ravel, Stravinsky and jazz, reveal a clear preference for Classical balance and non-programmatic form. Predominantly tonal, the symphonies are notable for their rhythmic energy, colourful orchestration and lyricism. Symphonies Nos. 1 and 4–7 are first recordings.

The Economist is a global weekly magazine written for those who share an uncommon interest in being well and broadly informed. Each issue explores the close links between domestic and international issues, business, politics, finance, current affairs, science, technology and the arts.

After the past 18 months, we could all be forgiven for forgetting that our generation doesn't have the monopoly on sitting in mortal peril at the mercy of a powerful and uncontrollable natural force. However we don't. Humankind has of course both been here before, and bequeathed us the art by which to remember it – including many of the texts set by German Baroque composer Philipp Heinrich Erlebach in his Harmonische Freude musikalischer Freunde.
Published in Nuremberg respectively in 1697 and 1710, these two vocal collections contain respectively 50 and 25 arias for one to four solo voices accompanied by instrumental ensemble and basso continuo, setting poems that flit between the moralistic and secular spheres; and while ultimately this is conjecture, they do at least appear to hint at their contemporary context of an era lived against the backdrop of natural disasters including Bubonic Plague, and the superstitious fear provoked in 1680 by the appearance of Europe's largest comet of the seventeenth century – an event perhaps referenced in the line, “Today bloody comets shine, Tomorrow we are free of distress”.