Nearly a decade ago, music fans were entranced by a viral clip of two young women playing improvisatory music on mandolin. The video quickly made the rounds across the Internet, with viewers drawn to their virtuosic performances on the small instruments. Known as the Mandolin Sisters, the duo’s mesmerizing skill integrated the rippling resonances of the mandolin within the ever-deep world of Carnatic music — a journey of sound that made time melt away.

Pisces, Aquarius, Capricorn & Jones Ltd. is the fourth album by the Monkees. It was released on November 14, 1967, during a period when the band exerted more control over their music and performed many of the instruments themselves (previously forbidden by Colgems Records). However, although the group had complete artistic control over the proceedings, they invited more outside contributions than on their previous album, Headquarters, and used session musicians to complement their sound.

After two albums inspired by vast northern landscapes, the forces of nature, and an ever-present sense of duality, Glass Museum shifts gears. The Brussels-based group—originally formed in 2016 by pianist Antoine Flipo and drummer Martin Grégoire—welcomes bassist Issam Labbene as an official third member, opening up a richer, more immersive sound and setting its sights on the rhythms of the modern city.

In her new album "Intimacy", zither soloist Sarah Luisa Wurmer (*2002), winner of the Fanny Mendelssohn Prize 2025, combines old and new music to create a multi-layered dialog of sound. The centerpiece is Suite No. 6 in D major BWV 1012 by Johann Sebastian Bach in her own arrangement for alto zither. In between are four works written especially for the project by Dorothea Hofmann, Leon Zmelty, Eva Kuhn and Julius von Lorentz, which illuminate intimacy, touch and vulnerability from different perspectives. The final piece is Steve Reich's "Piano Phase" in an arrangement for zither duo. With technical precision, tonal sensitivity and a transcultural repertoire, Sarah Luisa Wurmer opens up new spaces of expression for her instrument and invites us to experience music anew as a place of encounter.

Miley Cyrus is continuing her “Something Beautiful” era with the announcement that the deluxe edition of her ninth album will be released on Friday.

Can a self-portrait be a collage? Can empathy be autobiographical? What’s the point of living if we’re not trying to understand all the horror and humor that surrounds everything?

French multi-instrumentalist and producer Gautier Serre has been operating under the name Igorrr for twenty years, yet each new record still resonates with startling freshness and radical vitality. His steadfastly unclassifiable fifth album, Amen, maintains this impact, blindsiding listeners with a new set of exploratory curveballs and continuing to surprise and unnerve even the most attuned enthusiasts.

Synthpop, minimal wave, post-punk, goth, new romantic — fans and critics alike have dug deeply into their vintage thesauruses to describe the beguiling work of Nation of Language.

As a boy, Francesco Cavalli was a member of San Marco Basilica’s Chapel, then directed by Claudio Monteverdi, from whom he probably received tuition. In time Cavalli’s fame as an operatic composer spread across Europe and he succeeded Monteverdi in San Marco to reach the apex of success in Venice. He also wrote sacred music, published in two great printed collections. The first collection, published in 1656, contains his Missa a 8 voci Concertata, an imposing and magnificent work of exceptional complexity for eight soloists, two four-voiced choirs and many instrumentalists. In this recording it is performed in the context of an All Saints’ Day liturgy by Ensemble Locatelli, directed by Cavalli scholar, Bruno Gini.

François and Sylvain Rabbath have turned six years of touring into a joint album that patiently and intensely distills a variety of musical flavors gathered from around the world.

Born in Montreal, French-Canadian baritone Olivier Bergeron made his stage debut at Opéra de Montréal at the age of 16, singing the role of the Younger Brother in Dead Man Walking.

Max Bruch's Violin Concerto No. 1 in G minor, Op. 26, is one of the most popular violin concertos in solo violin repertoire and, along with the Scottish Fantasy, the composer's most famous work. It has been recorded often.

Pianist Nicolas Stavy, who has already made recordingsdevoted to works by Boris Tishchenko (BIS-2189) andDmitri Shostakovich (BIS-2550), now presents the firstinstalment of a complete survey of Alfred Schnittke'scompositions for solo piano. This recording presentsworks from various periods of the Russian-Germancomposer's career - from the 1950s, which thecomposer described as the 'years of obscurity', to the1990s, a time shaped both by world fame and seriousillness. While Schnittke wrote relatively little music forthe piano, each work reflects - or sometimes anticipates- the phases of the composer's creative development.

In this debut album, baritone Jonas Müller and the Tomasi Musso Guitar Duo have recorded Schubert’s Winterreise.

Alfonso Rendano was at the forefront of Italy’s instrumental composition renaissance in the late 19th-century but remains less well known than his near-contemporaries Giovanni Sgambati and Giuseppe Martucci. He was also a prominent pianist who performed with the illustrious violinist Joseph Joachim. The rhapsodic Piano Concerto, recorded here for the first time in its original edition, was premiered in a version for two pianos in which the composer was joined by Franz Liszt who called it ‘a vigorous, remarkable work, one I greatly appreciate’. The Allegro in A minor was rediscovered in 1969 and dates from Rendano’s artistic maturity. The Piano Concerto is performed in Vito Cristofaro’s edition and performed by him with Rendano’s leading contemporary exponent, Daniela Roma.