Montreal pianist Isabelle David's debut solo album includes 14 works from pianist and composer Auguste Descarries. Two of these are previously unreleased contributions to Quebec piano literature. Decarries holds a special place in Ms. David's musical background, as her maternal grandmother was one of the students who benefited from his teaching. This special link and the discovery of the composer's manuscripts led Ms. David to pursue a doctorate in music performance, where she devoted four years of research to Descarries's piano works. She writes: "This album is the culmination of all the work undertaken in the past few years. It is part of an endeavor shared with other musicians and music lovers who wish to raise the profile of Auguste Descarries's great piano legacy. I trust that you will enjoy the composer's unreleased pieces, whose opus makes a very original contribution to the piano literature of Quebec. Happy listening!"

Some of Jean-Nicolas Diatkine's singer friends have ended their careers, but their magic is irreplaceable in his eyes, or rather in his ears. He misses them, just as he misses the Schubert, Schumann and Brahms songs they sang. Well, there is only one person who can compensate for this loss, and his name is Franz Liszt. The main aim of transcriptions was to make orchestral works known to a wider audience, at a time when there were far fewer orchestras, and public access to symphony concerts was very limited. But Liszt gives transcriptions a new meaning: he puts the orchestra into the piano, since his style is particularly suited to outsized extravagance. Thus he opens up unprecedented pianistic possibilities, where virtuosity is no longer mere exhibitionism but rather transformed into the art of illusion. His arrangements of Wagner are so convincing that they become his own personal creations.Laurent Bessières, piano tuner at the Paris Philharmonic, suggested for this recording a Schiedmayer piano of 1916 made in Stuttgart, which he had completely rebuilt in collaboration with Antoine Letessier-Salmon, director of the French National Centre for Scientific Research, and Stephen Paulello, piano maker and inventor of the strings that bear his name. This instrument has almost never been used in concert, however excellent work by Laurent Bessières convinced us to try it out in this very special repertoire.

The album "let it touch you" celebrates the 20th anniversary of the still active jam band "Café Drechsler" from Austria.
It is an acoustic adventure, a colourful bouquet of flowers with the scent of a long journey of this extraordinary as well as unique band from Austria. The three protagonists Ulrich Drechsler (saxophone), Oliver Steger (double bass) and Alex Deutsch (drums) are all artists who have been working internationally for decades in various formations as well as with their own individual projects. They seem to move light-footedly and weightlessly between genres with their own stylistic means of jamming and improvisation, without compromising or betraying their "trade mark sound and groove".

The first-ever complete anthology of their work, the 2-CD set ‘Hush Your Mouth’ brings together their small but valuable cache of mid-Sixties acetates, their feverishly-pursued Polydor single, a clutch of August 1964 live cuts (including three tracks now being heard for the first time) and those early ‘90s recordings – which initially gained a partial release as ‘No Concessions’ before an expanded version appeared in 2017 as ‘Backlash’.

The decades between the two world wars witnessed vast changes in the way folksongs and other music of proud and disappearing populations and traditions were captured. From the beginning of the century Cecil Sharp (his ideology and motivation much criticized in later decades) had been passionate about the musical and folkloric value of folksong, which he notated on his extended forages through English villages and, during the First World War, Appalachia. Yet the advances in recording technology in the 1920s made Sharp’s pencil and field notebook, his staunchly diatonic framework and proto nationalism, seem old fashioned and undesirable. Others differently motivated signed up to this new discipline – in Truro, Somerset, Mississippi, the Carpathian Basin and beyond – with nascent recording technology their ally. In so doing they etched and forever altered the sound of the twentieth century.

For a band that never achieved much chart success in their native Britain, The Creation is one of the most paradoxically enduring of British combos to emerge in the furiously creative mid-sixties. Their recordings from their 1966-68 heyday are not numerous, but they have become the archetype 'cult' band, their music being discovered, loved and admired by successive generations of fans over the last half-century or so.

Giulio Tampalini has been hailed internationally as one of the most popular and charismatic classical guitarists, and as such he tours regularly and extensively in his country and abroad (La Fenice Opera Theatre Venice, Rome Parco della Musica, Shubert Theatre Tremont Boston U.S.A., Teatro Renascença Porto Alegre Brazil, Ithaca College New York U.S.A., Qintai Grand Theatre Wuhan China, Cearte Arts Centre Baja California Mexico, Muhsin Ertuğrul Theatre Istanbul Turkey, Safadi Foundation Lebanon, Nadine Chaudier Thetare Avignon France, Musée international de la Croix-Rouge Geneve Switzerland, Salle Jacques Huisman Théâtre National Bruxelles Belgium).

Michael Haydn was a great composer — just not as great as his older brother Franz Joseph. The two were both highly regarded during their lifetimes. But over time Franz Joseph’s popularity completely eclipsed Michael’s.To be fair, choral music was Michael Haydn’s forte. But his relatively few orchestral works are more than historical curiosities. One of his string quartets, for example, was misattributed to Franz Joseph. And for years, Michael Haydn’s Symphony No. 25 was credited to Mozart.The Capella Savria present four of Michael Haydn’s concertos. These include his two flute concertos and two of three violin concertos. Haydn composed the works in Salzburg, where he was a friend of the Mozarts.The concertos bear some similarities to Leopold Mozart’s style. The melodic phrases are balanced and clearly defined. The solo parts require a high degree of skill to play. But they’re not especially flashy. The elegance of expression tempers the technical challenges.

Original score from the 2021 drama feature film directed by Richie Adams, starring Hermione Corfield, Mark Gatiss and Morven Christie, produced by Sheridan Road Productions, Uinta Productions and Wind Chill Media Groups, released by Parkland Entertainment (UK).

Blake Neely (Everwood, The Pacific, Pan Am, The Flight Attendant) provides the original soundtrack to Season 3 of the CW sports drama original series, All American. In addition to Neely's original score, the album includes feature songs "Family Over Everything" by BRE-Z and Chelsea Tavares, and "Music Can Save Us" by Chelsea Tavares.All American is inspired by the life of professional American football player Spencer Paysinger with Daniel Ezra in the lead role. The series follows a rising high school football player from South L.A who is recruited to play for Beverly Hills High. Soon after, the wins, losses and struggles of two families from vastly different worlds—Crenshaw and Beverly Hills—begin to collide.

Figura inusuale del panorama pianistico attuale, Luca Ciammarughi affianca all’attività concertistica la conduzione quotidiana di trasmissioni su ClassicaViva Web Radio e Radio Classica e l’attività di critico musicale per le riviste MUSICA e Classic Voice. Le sue pubblicazioni comprendono, oltre a una serie di cd dedicati a Schubert, saggi, articoli, interviste, voci enciclopediche, programmi di sala per alcune delle principali istituzioni italiane.

In its third concert streaming on the radio this month, BIPO, under the direction of its honorary conductor Gürer Aykal, will be presenting two works by Vivaldi that we rarely have the pleasure of hearing. We will listen to shining examples of Vivaldi’s two different creative periods with the Mandolin Concerto in C major and the Lute Concerto in D Major performed on the mandolin by Bülent Yazıcı, a musician especially well known for his albums and superb interpretations of Baroque music.

Known as one of the world's finest orchestras, Berliner Philhamoniker has performed and recorded the symphonies and choral works of the great classical music composers since it was founded in 1882.

Travel back in time to the decade that changed everything. Greatest Ever 60s Legends collects 80 slivers of pop perfection from artists who continue to enthral all these years later. You'd expect a great variety of styles and this album doesn't disappoint: the 1960s had so much to offer. It was a time of superstar beat groups like The Searchers, Herman's Hermits and Gerry & The Pacemakers. There was classic soul music from Otis Redding, Aretha Franklin and Sam & Dave. Rock powered up via The Animals, Jeff Beck and Status Quo. For those more inclined towards easy listening, here come Matt Monro, The Everly Brothers and The Shadows.

There are numerous red threads weaving together the works recorded in this Da Vinci Classics album. As is well known, the term sonata literally means “something to be played”, in Italian, while its cognate term cantata means “something to be sung”. Along with toccata (“something to be touched”, i.e. to be played on a keyboard instrument) these three genres are among the leading creations of Italian Baroque music, and would inspire countless musicians both in the Peninsula and abroad. None of these genres was one of Vivaldi’s favourites: at least numerically, the Red Priest clearly preferred Concertos to Sonatas. However, his extraordinary knowledge of the secrets of violin playing, largely derived from his long and assiduous frequentation of concertos, could easily translate into skillful and creative works in the genres of the Sonatas.