Celebrating the 50th anniversary of the Mothers of Invention's 1971 lineup, the complete Fillmore tapes are showcased here with every note played over 4 shows, including the John Lennon & Yoko Ono encore.

This autumn, two music legends shared the stage: John Williams conducted the Berliner Philharmoniker for the first time. This historic debut was recorded live by Deutsche Grammophon in a series of sold-out concerts and will be released on February 4, 2022 in various physical and digital audio and audiovisual products that impressively reflect the intensity and enthusiasm of this special evening.

"… Sinatra's labor of love, the sublime Close To You …"

Autechre albums are like language immersion programs: At first they don’t make sense, but listen close and familiar shapes emerge. Not that SIGN is accessible per se: We’re still talking about something closer to computer programming than what most people would consider music. But for a group that can be almost mythically forbidding (2016’s four-hour-long—and 12-hours-dense—elseq), SIGN is almost pop.

Trouble Cats has in november 2022 been in the studio to record new album.

The name Elisabeth Lutyens is synonymous with music that is overtly serial, uncompromisingly modernist, and of daring and fearless individuality. Yet there is much to explore behind the naturally combative and provocative façade of this extraordinary composer, whose music is at various times sensual, thoughtful and delicate, as well as dark, turbulent and even violent.

As both musician and composer the violin was central to Sibelius’s career, and his output for the instrument spans much of his long life. Acclaimed violinist Fenella Humphreys and celebrated pianist Joseph Tong explore a tantalising programme of Sibelius’s music, from the youthful Andante cantabile in G major composed in 1887, through Opp. 78 and 81, written in the midst of the First World War, to his last works for the instrument – Four Pieces, Op. 115 and Three Pieces, Op. 116 both penned in 1929. Completing the programme are the five Danses champêtres, Op. 106 from 1924–5.

By the time "Hotter Than July" was released in 1980, Stevie Wonder had spent the '70s making his transition into adulthood by redefining pop music and winning widespread public and critical acclaim (along with a boatload of Grammys). As was usually the case on previous albums, Wonder's first release of the '80s featured him playing a variety of instruments, supported by a number of famous guests including Angela Winbush, Michael Jackson, Betty Wright and members of the Gap Band. The result was an album of breezy love songs, deliciously upbeat pop and a thinly disguised tribute to Bob Marley.

Callas first sang Bellini's Norma in 1948, when she was just 25. She went on to perform the role of the heroic, but vulnerable Druid priestess -the ultimate embodiment of bel canto - more frequently than any other. In this second studio recording her conductor was again Tullio Serafin (he originally tutored her in the role in 1948), and the venue was again La Scala - where the opera was premiered in 1831. By 1960, Callas brought a wealth of new nuance to her interpretation, and she is aptly partnered by the creamy-voiced Christa Ludwig (in a rare recording of an Italian role) and the towering Franco Corelli.

Each act of Puccini's episodic opera shows Manon Lescaut in a different light - from the ingénue of the first to the desperate, dying woman of the last. Though Callas never performed the role on stage, she captures every aspect of this passionate, but selfish and enigmatic character. In this particular Puccini opera, the tenor is by no means overshadowed by the soprano, and Giuseppe di Stefano duly dominates the gripping scene at Le Havre.The young Fiorenza Cossotto - a powerhouse in roles such as Amneris and Eboli - makes a cameo appearance as the Madrigal Singer.

Graham Dean is essentially a painter of identity. But more than the identity of the body, it is the identity of the soul that he evokes in his sumptuous watercolours. He was also a pioneer in early video technology. He shot his second film to be funded by the Arts Council ‘Undercurrents’ on 16mm film, featuring a series of images and live action footage which were then manipulated. The film was first exhibited in 1981 and is soundtracked by a 14 minute instrumental piece, written and recorded by Peter. The ‘Undercurrents’ music was previously unreleased until last year when it was newly mixed for inclusion in Graham Dean's Strange Beauty book.

Grammy-nominated, award-winning (Gold Medal at the Global Music Awards in 2017 and 2018), a concert violinist since the age of 4, and hailed by American Record Guide as “marvelous in the tradition of Heifetz”, Elmira Darvarova caused a sensation, becoming the first ever (and so far only) woman-concertmaster in the history of the Metropolitan Opera.

Premiered in 1800, Beethoven’s Sonata in F major, Op. 17 for piano and horn signalled the beginning of an explosion in works for piano and horn duo in the early part of the nineteenth century. Many composers were to follow in the footsteps of the great master in exploiting the versatility and variety of the natural horn in the years that followed. Beyond Beethoven explores four works by close contemporaries, chosen partly due to the connections between the composers, Beethoven and his Op. 17 Sonata, and partly to dispel enduring modern myths about the instrument’s limited options.

A former organist of both York Minster and Guildford Cathedral, Philip Moore ranks among the most significant and prolific of British choral and organ composers of the late-20th and 21st centuries.

Kawabata Makoto (better known in his adult incarnation as the Father Yod like ringleader of Acid Mother's Temple) was a precocious Japanese kid at the age of 13 when he made these recordings. Like his Dark Revolution Collective album that was recorded about the same time in 1978, the only instrument that Kawabata had access to was a borrowed synthesizer, which he tweedled and modulated to create what qualified way back then as "Psychedelic Noise." In between all of the Morton Subotnik / Conrad Schnitzler-esque electronic squiggliness, Kawabata offers occasionally frightening vocal moans buried under deep reverberations.