Tchaikovsky’s command of musical drama is in perfect evidence in Gidon Kremer’s quicksilver violin playing. His Balkan partners, Lithuanian cellist Giedre Dirvanauskaite and Georgian pianist Khatia Buniatishvili, display their association with Kremer in their seamless support and interaction with the violinist, particularly in the extended “Pezzo elagiaco” opening movement of the trio. The trio remains fully integrated through the variations to the coda; sumptuous and plush, Kremer’s is an excellent reading of Tchaikovsky in a small space.

In this beautiful duo album by two of Italy’s most creative musicians, roles are frequently overturned, as lyrical percussion shades into electronics and texture turns to melody. Stefano Battaglia reminds us that the piano is also a percussion instrument and Michele Rabbia is sensitive to all the tonal implications of drums and cymbals. The musicians play with and without scores in material that is variously open-form, tightly-controlled, inspired by folk idioms, by liturgical music and by art installations. Battaglia allows beautiful themes to ripple through the work, and sounds are given room to blossom.

Donald Harrison, who gained his initial recognition in the 1980s when he was with Art Blakey's Jazz Messengers and co-led a band with Terence Blanchard, has continued growing and evolving ever since that time. Though underrated, he is currently at the peak of his powers. Harrison worked with bassist Ron Carter, drummer Billy Cobham, and pianist James Williams in a 2002 quartet called the Art of Four. He reunites with Carter and Cobham for five selections on Heroes and also engages in three duets with the bassist. This CD is one of Donald Harrison's most rewarding showcases to date and is highly recommended.

What does the music of Talis sound like? Horrible! Shocking! Unbelievable! If you trust the statements of a vocalist that we had invited once, our music sounds "as if you're in a shopping mall and you're looking for something, though you don't know what, but you can't find it". According to Talis, the music is melody orientated Prog, that tries to navigate around the cliffs of of both neoprog and retroprog cliché, but instead tries to find its own way in trying to create interesting and stylisticly different passages and songs. You don't know what "prog" or "neoprog"/"retroprog" is? Just think about "rock music with more than 3 chords". But at the end of the day, it doesn't matter how the music could or should be categorized.

2016 release by Too Slim and the Taildraggers. Their previous release 2013s Blue Heart was nominated for Blues Rock Album of the Year by The Blues Foundation as was their 2011 release Shiver and The Fortune Teller in 2007. Too Slim and the Taildraggers previous four releases have all Charted in the Billboard Top 10 Blues Album Chart.

Herbert von Karajan was head of the Berliner Philharmoniker from 1956 until his death in 1989. In addition to countless orchestral recordings, he created some immortal opera recordings: '' Don Carlos '' is one of these opera recordings that have since become historically significant: In 1986, the Salzburg Easter Festival was staged by an internationally top-class soloist duo (José Carreras, Agnes Baltsa, Ferrucio Furlanetto and Piero Cappuccilli ) on legend Karajan with the Berliner Philharmoniker and the Salzburg Concert Choir.

Pierre Monteux was remembered by Sir Georg Solti in his memoirs as "one of most brilliant conductors of the first half of the twentieth century"
• Assembled together, for the first time, Pierre Monteux’s complete recordings for Decca,Philips, Westminster and Decca/RCA.
• Including bonus disc of rehearsal material never before released, from producer Christopher Raeburn’s archives (courtesy of the British Library) – including
Daphnis et Chlo? and Beethoven Symphonies Nos. 3& 9.
• Includes the first international CD release of a Ravel disc conducted by Claude Monteux – Pierre’s son.

This is a disc for the Francophile who thinks that they have everything. Myrrha (1901), Alcyone (1902) and Alyssa (1903) are the three cantatas composed by Ravel in his doomed bid for the Paris Conservatoire's prestigious Prix de Rome for composers. Feeling that he was a financial burden on his family, Ravel entered the competition five times in all and was adjudged not talented enough even to proceed to the final round on both his first and the last attempts (1900 and 1905 respectively).