Multiple is my first album of music for the electric viola; all the works have either been transcribed by myself, by the composer or written specifically for the album. The title of the album reflects the fact that the works are originally composed for multiple instruments or voices and in the case of the Tallis, 40 of them. Terry Riley’s Dorian Reeds however, is scored for a single instrument, the multiple aspect of the work coming from looping delays, which accumulate and fade throughout the piece.

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.

Some musical works open themselves up immediately. You listen once and know what you have. And then there are those that arouse your curiosity, want to be heard again and again until they reveal more and more of themselves from the depth of their own center, in order to manifest their overwhelming complexity in the end. Jürgen Friedrich’s large-scale program Semi Song, recorded by his Large Ensemble, belongs to the latter.

"The Passion music Johann David Heinichen wrote for the Dresden court is a document of cultural and confessional openness of the Saxon residence, and his two Italian oratorios heard here are surrogates of large-scale Passion music. ""Come? S'imbruna il ciel"" - composed in 1728 - is the latest of the sepolcri, his other Passion ""L'aride tempie ignude"" the first of the sepolcri to survive from Heinichen in Dresden. Both texts are by Stefano Pallavicino, who had been active at the Dresden court since 1719. In the first-mentioned Passion, the meditation on the Passion event recurs to the experience of the earthquake that, according to biblical accounts, occurred immediately after the death of Jesus.

Dragon’s Domain Records presents the world premiere soundtrack release of THE AFTERMATH, featuring music composed and conducted by John Morgan for the 1982 science fiction film written, produced and directed by Steve Barkett and also starring Lynne Marguilies, Larry Latham, and Sid Haig.

American organist James D. Hicks continues his explorations of organ music by Nordic region composers with this 3-album set, played upon the Paschen Kiel pipe organ at Central Pori Church, Pori Finland. James D. Hicks is a concert organist living and working out of Califon, New Jersey, USA. A graduate of the Peabody Conservatory of Music, Yale University and the University of Cincinnati, Hicks has also studied at the Royal School of Church Music in the UK. Jim held liturgical positions throughout the country over the course of thirty five years, and now devotes himself to concert and recording projects.

Mr. Morale & the Big Steppers is the fifth studio album by American rapper Kendrick Lamar. Released on May 13, 2022 as a double album, it was Lamar's first full-length album release since the Black Panther soundtrack, and his first solo studio album since Damn in 2017. The album was released in association with PGLang and Top Dawg Entertainment; Lamar has stated that the album will be his last with TDE.

Jermaine Stegall is an accomplished and versatile composer and conductor. With over 50 projects to his credit, Stegall most recently completed the score for “Coming 2 America”, the highly anticipated sequel to the Eddie Murphy classic, with Murphy, Arsenio Hall and James Earl-Jones all reprising their roles. Stegall’s recent scoring and conducting assignments have included “Senior Year” (2022) for Paramount Pictures, and the upcoming film “Oracle” for Universal Pictures. He has also had the opportunity to collaborate over the years with notable film composers including Danny Elfman, Christophe Beck, William Ross, Marco Beltrami, Harry Gregson-Williams, Christopher Lennertz, and Blake Neely, and Mark Isham.

In the music industry, time moves ten times faster. There is no pause given to greatness, and legends can vanish amidst the churn of the hit parade. It is no minor miracle, then, that in the face of a deadly pandemic and faltering supply chain, Jazz Is Dead has returned with another offering of top-shelf recordings, paying tribute to past legends and new school torchbearers alike. Whether you’ve known the names of Jazz Is Dead Series 2’s featured guests, or are just meeting them for the first time, prepare to be blown away.

Opus 1: Listen to me, here I am! As a Firstling, I want to go public, I want to be printed, played, understood and appreciated. What came before me no longer counts. I lead a life of my own and stand at the beginning of my further development.

Not only was Manuel Ponce the leading figure in the emergence of Mexican nationalism but his music embodies a wide variety of influences. Nowhere is this more evident than in his writing for solo piano, and this album, the third of eight volumes, explores three specific facets. The first is his youthful concert studies, which are virtuosic, atmospheric and memorably evocative.

fra bernardo media – state of the art in early music The idea behind «fra bernardo» label is to create an unmistakable profile in the so-called early music world: young artists and ensembles are to be offered an international platform and at the same time repertoire outside the mainstream is to be made accessible with the aim of closing some glaring gaps. The most important artists and ensembles include Roberto Zarpellon, Ensemble Lorenzo da Ponte, ensemble 392, Marie-Sophie Pollak, Concerto Stella Matutina, Silvia Frigato, Mauro Borgioni, beauty farm as well as beauty farm, dedicated to renaissance vocal polyphony.«fra bernardo» aims to cover also white spots on the map of early music. This has already lead to many world premiere recordings such as music by La Rue, Lulier, Costanzi, Erlebach and Veracini.

John Matthew Myers is rapidly in the ascendent. His debut album, "Desiderium", coincides with his Metropolitan Opera debut in Brett Dean’s Hamlet. "Desiderium" – "an ardent desire or longing, a feeling of loss or grief for something lost" – beautifully showcases Myers’ mellifluous voice. His thoughtful program of works by American and American émigré composers opens with Samuel Barber’s yearning Knoxville: Summer of 1915 – rarely heard sung by a tenor – and transitions to Charles Tomlinson Griffes’ similarly searching settings of 3 Poems of Fiona Macleod, and Andre Previn’s 4 Songs for Tenor and Piano.What follows is A Letter from Sullivan Ballou, set to the words of a poignant letter by an American Civil War officer, by John Kander (of Kander and Ebb musical theatre fame). Rounding out the recital are 4 Walt Whitman Songs by German-born composer Kurt Weill, including the classic O Captain! My Captain!John Matthew Myers says “Call me a big-hearted Romantic. Each song on this album conveys yearning, separation, loneliness or distance but also a sense of intimacy and longing for connection". It certainly does. "Desiderium" is an auspicious album.

For this complete recording of Johannes Brahms' piano trios, the internationally successful Salzburg violinist Thomas Albertus Irnberger chose his usual top-class ensemble partners. Irnberger has long had an intense artistic friendship with the versatile cellist David Geringas, who, like the Russian-born pianist Lilya Zilberstein, can point to a number of recordings that are as long as they are impressive.The Piano Trio No. 1 in B major, Op. 8 can be heard here in the revised version, which closes the time gap of almost 25 years to the other two trios (No. 2 in C major, Op. 87 and No. 3 in C minor, Op. 101), since the revision took place after the completion of these works and thus at the peak of Brahmsian compositional art.
For the Trio for Clarinet, Violoncello and Piano in A minor, Op. 114, Brahms envisaged the viola as an alternative instrumentation from the very beginning, which is mastered by Irnberger as brilliantly as the violin.