Daniil Trifonov, winner of the 2011 International Tchaikovsky Competition, is probably the world's most exciting young pianist. On his first Mariinsky recording, he joins Valery Gergiev for a scintillating performance of Tchaikovsky's Piano Concerto No 1. Trifonov also presents a selection of recital repertoire including music by Tchaikovsky, Chopin and Liszt transcriptions of Schubert and Schumann lieder. In 2011, Trifonov gave his debut with the London Symphony Orchestra and has since performed with the Vienna Philharmonic and the Mariinsky Orchestra, as well as touring throughout the USA, Europe and the Far East. In the coming season he will make debuts with the New York Philharmonic, Boston Symphony and Chicago Symphony orchestras, as well as performing recitals at Salle Pleyel, Carnegie Hall, Suntory Hall and Wigmore Hall.

As Green-House, musicians Olive Ardizoni and Michael Flanagan engage human nature and the natural world through joyous, dynamic synthesis.

Vocalist and composer Aubrey Johnson presents her second album, The Lively Air, marking her return to composing after several years focused primarily on recording and interpreting other artists’ music (notably, Lyle Mays, Billy Childs, Alex Sipiagin, Sara Serpa, and more).

Lois Deloatch is a songwriter and vocalist known for her powerful contralto voice and distinctive blend of jazz, soul, blues, folk and spirituals.

Sasha Smith is a Los Angeles–based keyboardist and session musician whose piano work has supported a range of artists, including Cat Power, Ariana Grande, Everclear, The Wallflowers, Freedy Johnston, Ann Wilson, Sam Beam, Priscilla Ahn, Sia, and Audrey McGraw.

For nearly three decades, the Amsterdam Klezmer Band has been reinventing klezmer music from its very core, blending tradition with fresh, playful energy. With their latest album, Diaspora, the band returns to its acoustic roots while subtly reshaping them, capturing the music in its most immediate and joyous form, with a newly prominent role for drummer Mischa Porte.

The much anticipated debut album from Anna Lowenstein, one of the UK’s leading exponents of the Klezmer fiddle tradition, is “an alluring work of vernacular modernism” that draws upon the melodies of Eastern European Jewish folk music, while availing of the possibilities afforded by the string quartet.

This disc contains 2 of Haydn’s greatest quartets & contrasts them with 1 of Beethoven’s early quartets that already demonstrates how he adopted Haydn’s model before developing it to his own ends.

A psychedelic journey full of rhythm, sweat and release. Longo Long is a collective eruption of rhythm, soul, and liberation, rooted deeply in Cuban tradition (with two lead singers raised in Cuba) and powered by Afrobeat, funk, and psychedelia.

These original demo recordings, all including Richard O’Brien’s commentary storyline, were originally recorded for presentation to The Royal Court Theatre as an outline of the songs and storyline for The Rocky Horror Show. The recordings secured him the gig Upstairs at The Royal Court Theatre and the rest was history. The Rocky Horror Show is the longest continuously-running contemporary musical anywhere in the world. Seen by millions, it continues to delight audiences on its sell-out international tours.

Tutta Vita started with an idea and a look by Valentina Cenni: narrate jazz improvisation as an act of life, a space for interaction, listening, and freedom. She asked Stefano Bollani to gather some of the best Italian jazz musicians, along with three young talents, in a remote location, away from stages and tours, so they could play together for a week. No songlist, no pressure: their only goal is to make music together before performing at the Politeama Rossetti in Trieste.

King Of The Tenors is a landmark album by Ben Webster, recorded in 1953 and initially released as The Consummate Artistry of Ben Webster, then retitled for its classic 1957 Verve Records reissue. Webster is joined by jazz icons including the Oscar Peterson Trio throughout, as well as Benny Carter (alto saxophone) and Harry “Sweets” Edison (trumpet) on select tracks, resulting in ensemble interplay that balances lush ballads and blues with joyous swing. The program includes Webster originals like “Bounce Blues,” alongside inspired versions of Ellington’s “Cottontail” and “Don’t Get Around Much Anymore,” standards such as “Tenderly,” and a moving “Danny Boy.” His performances here span warm lyricism to exuberant, robust soloing, offering a panoramic view of Webster’s artistry at its zenith.​

Looking at Trio Accanto on stage, you see three very accomplished musicians playing together in a somewhat unconventional combination of instruments. But you also see an ensemble that embody a history of New Music, as collective and as individuals, having performed an enormous amount of repertoire from the last four decades. Writing for these musicians means to engage with this history, these bodies – both in a metaphorical and physical sense – that register so much of our recent past. For me, it also means engaging with my personal history, since I have listened to these musicians in various constellations for more than twenty years.

On Bright Dawn, his 21st recording as a leader, Harvie S reaffirms why he remains one of the most expressive and sought-after bass voices in modern jazz. Long celebrated for bass lines that function "like the deep roots of a tree," Harvie uses this session to explore the full sonic and emotional range of the instrument, shaping music that is at once grounded, lyrical, and quietly adventurous. His original compositions—thoughtful, rhythmically alive, and rich with harmonic implication—sit naturally alongside inspired interpretations of Chick Corea's "Humpty Dumpty" and Bob Dorough's wry classic "Devil May Care," creating a program that feels both personal and expansive.

Parry’s love for music began as the age of 6 when she saw the Wizard of Oz. Completely enraptured by the spectacle of musical theatre she was instantly addicted and spent many hours watching musicals, and indeed anything music-related she could.