Like the echo of a grand landscape, Metheny and Mays create an atmospheric meditation on traveling across the great open expanse of America As Falls Wichita, So Falls Wichita Falls. By turns introspective and hymn-like, soaring and transcendent, the music resonates with a rural spirit, to which the Brazilian percussion of Nana Vasconcelos brings a more universal feel. Both "It's For You" and the epic title track evoke sonic vistas that touch a nerve with their layered keyboards and guitars. "Ozark" is a dynamic track featuring piano propelled by gentle percussion, while "September Fifteenth" is a quiet and deeply moving dedication to pianist Bill Evans. "Estupenda Graca" is like a gentle prayer sung both as closure, and in anticipation of the travels to come.

Unrepresented and stateless peoples produce some of the world's greatest music - music without frontiers. Produced in association with the Unrepresented Nations and Peoples Organization (UNPO), this Rough Guide celebrates the remarkable and diverse music of the indigenous peoples and minorities living in unrecognised or occupied territories around the world.

Fresu was born in Berchidda, Sardinia. He picked up the trumpet at the age of 11, and played in the band Bernardo de Muro in his home town Berchidda. Fresu graduated from the Conservatory of Cagliari in 1984, in trumpet studies under Enzo Morandini, and attended the University of Musical and performing arts in Bologna. Fresu has taught at the Siena Jazz National Seminars, as well as jazz university courses in Terni, and is the director of Nuoro Jazz Seminars in Nuoro, Italy. Fresu composes music for theatre, poem, dance, radio, television, and film.

The German industrial/gothic rock band Unheilig (which in German means "Unholy") formed in 1999 and quickly released their first single, "Sage Ja!," that same year. Initially signed to the Bloodline label, the group – including Grant Stevens, José Alvarez-Brill, and Der Graf – followed its debut club hit with a full-length offering in 2001 titled Phosphor. The success of the single and the album helped land Unheilig slots on their genre's festival circuit, including Zillo Open Air and the Doomsday Festival, but the trio members would soon find themselves back at work on new studio material, which resulted in 2002's Christmas album Frohes Fest and 2003's Das 2. Gebot. Unheilig built on their momentum by releasing another EP in 2003, as well as taking their sound to the audiences of Europe, which led to remixing projects and appearances on video game soundtracks.

The back liner photo gives the impression of a grungy Midwestern garage band, but no, that doesn't describe this sophisticated jazz-rock quartet, which was simultaneously breaking into mass-market acceptance and away from the contemplative ECM stereotype. The arrangements are more structured, the playing often more intense and searching, with a more pronounced rock influence.

The Russian composer Sergei Prokofiev was one of the giants of 20th century music. Reference Recordings is proud to present the Utah Symphony conducted by Thierry Fischer, in grand new performances of "Alexander Nevsky" and the "Lieutenant Kijé Suite", two of his most brilliant and dramatic musical works. The music of Lieutenant Kijé was originally written as the score to the film of the same name, released in March 1934. Prokofiev soon adapted it into the five-movement Lieutenant Kijé Suite, first performed in December 1934, and which quickly became a favorite in the international concert repertoire. Then, in 1938, Prokofiev collaborated with film director Eisenstein to create the score for the film Alexander Nevsky. He later adapted much of his score into the large-scale cantata for mezzo-soprano, orchestra and chorus featured on this recording.

When Renata Tebaldi sang Desdemona in Verdi’s Otello at London’s Covent Garden in 1950, it was her first operatic performance outside Italy. It was also the role in which she made her last appearance on the opera stage, at the Metropolitan Opera New York in 1973. Between these two performances she made close to a hundred stage appearances as Desdemona, not to mention two studio recordings with Alberto Erede and Herbert von Karajan. It was Arturo Toscanini who coined for her the moniker “voce d’angelo” (voice of an angel). She made her highly acclaimed debut as Desdemona at the Metropolitan Opera in 1955 and from that moment on made New York the focus of her life.

It's one measure of a great performance that it focuses the attention so entirely on the music that you forget everything else. Another is that it banishes all thought of other performances from your mind. That both circumstances should apply with a work as familiar and over-recorded as the 'Emperor' is cause for celebration. This is just such a performance - which by definition presupposes such a perfect a unanimity of approach on the parts of conductor and soloist that one almost forgets (and how ironically!) that this is a concerto at all.

The term étude first started to turn up in musical literature in the late 1700s, and came into common usage in the first half of the 19th centuryeither because of, or in close proximity to, the Paris Conservatoire, where the form was polished and promulgated. The notion of a piece of music exactingly engineered to promote some specific aspect of technique was nothing new; in her public presentations of 'The Étude Project', pianist Jenny Lin traces the concept back to Johann Sebastian Bachs Clavier-Übung. Countless composers have risen to the challenge of the étude. This album, the first documentation of a sweeping project conceived by Lin, includes some of the most famous examples Debussy, Scriabin, Rachmaninoff, Messiaen, Ligeti, and Glass alongside equally noteworthy contributions to the format by such mavericks as Ruth Crawford Seeger, Toshio Hosokawa, and Unsuk Chin. Lin further pairs each of her canonical selections with an entirely new work by a member of ICEBERG New Music, a determinedly heterodox collaborative of 10 gifted young composers who represent a broad range of stylistic inclinations, but who are united by their enduring faith in substance and craft.

Danacord continues its tribute to the Danish cellist Erling Blondal Bengtsson. For this third volume of recordings emanating from Danish Radio Bengtsson plays a selection of solo sonatas and is also heard collaborating with friends and relations in a diverse choice of chamber pieces, from Schumann to Thybo. By complete contrast there is also Bloch’s mighty Schelomo, his Hebraic Rhapsody for cello and large orchestra. This 2-disc set offers a further feast of Bengtsson’s resourcefulness and sterling musicianship.

Hier ist Weihnachtsstimmung garantiert! Die größten Volksmusik-Stars präsentieren die beliebtesten Weihnachtslieder wie: Der kleine Trommler, Leise rieselt der Schnee, Ich schenk' Dir einen Weihnachtsstern und viele mehr.

By ''Early Viennese School'' is meant the group of composers contemporary, in the capital city of the Austro-Hungarian Empire, with Haydn and Mozart. Not all of it is particularly early; indeed Albrechtsberger, Vanhal and Salieri lived well into the nineteenth century. And it is arguable whether the Viennese of this period really represent a 'school' in the sense that the Mannheimers, or even the North Germans, clearly do; Vienna was a great musical clearing-house, wide open to influences (French and especially Italian opera were much performed there all through this period), and it is perhaps better to regard Viennese composition of the time as representing a wide spectrum of dialect within the late eighteenth-century lingua franca.

Stan Getz (born Stanley Gayetski; February 2, 1927 – June 6, 1991) was an American jazz saxophonist. Playing primarily the tenor saxophone, Getz was known as "The Sound" because of his warm, lyrical tone, his prime influence being the wispy, mellow timbre of his idol, Lester Young. Coming to prominence in the late 1940s with Woody Herman's big band, Getz is described by critic Scott Yanow as "one of the all-time great tenor saxophonists". Getz performed in bebop and cool jazz groups. Influenced by João Gilberto and Antônio Carlos Jobim, he popularized bossa nova in America with the hit single "The Girl from Ipanema" (1964).

Maestro Marek Janowski leads a sensational cast — including star vocalists Lise Davidsen and Andreas Schager — on this new recording of Der Freischütz, the German Romantic opera par excellence. In the years after its 1821 premiere, the catchy melodies, picturesque charm and spooky scenes of Der Freischütz thrilled audiences throughout Europe. Janowski’s inspired reading lifts out the symphonic qualities of Carl Maria von Weber’s masterpiece, and makes clear why colleagues such as Hector Berlioz and Richard Wagner raved about the work.

Oscar Brown Jr. (October 10, 1926 – May 29, 2005) was an American singer, songwriter, playwright, poet, civil rights activist, and actor. Aside from his career, Brown ran unsuccessfully for office in both the Illinois state legislature and the U.S. Congress. Brown wrote numerous songs (only 125 have been published), 12 albums, and more than a dozen musical plays.