The work is an extraordinary curiosity; a child of the heady days just before the French Revolution, Tarare is the famous French writer's only opera and one of the Italian composer's rare French scores. First and most strikingly a work of social and political commentary, Tarare is also an entertaining work of theatre. Salieri's music supports these aims admirably and offers a few memorable moments of its own. As an opera form, Tarare defies easy categorization; it may be best described as a comedic satire dressed in the clothes of a sprawling 5 act lyric tragedy, complete with Prologue and a grand divertissement with dance.

Haydn's Paukenmesse, Hob.XXII:9 from 1796, was the first work he composed to honour the name day (8th September) of the Princess Maria Hermenegild. The name of Paukenmesse’ (Kettledrum Mass) stems from the employment of timpani in the Agnus Dei; evocative of hearing the advance of the enemy. At the time of composition the French armies had occupied the state of Styria in southeast Austria.

The arias, duets, recitatives and overtures in this recording are not grouped according to a set theme or singing style: heroic tenors, rival queens or famous castrati. Instead, if the sleeve-notes are to be believed, soprano Sandrine Piau, contralto Sara Mingardo and conductor Rinaldo Alessandrini set out simply to enjoy themselves by performing favourite works from across Handel’s operatic output. Their only rules were to omit the very famous numbers - ‘Cara sposa’ from Rinaldo, for example, is not included - maintain a sense of mood contrast, and to include opening recitatives as a means of placing the characters within the dramatic context of each opera.

For much of the 1970s and '80s, guitarist Mighty Joe Young "owned" Chicago's cozy Wise Fools Pub - at least musically speaking. He was the club's top draw, but this live disc, caught at the late and still-lamented Wise Fools, finds him sticking to the tiredest of warhorses. "Stormy Monday," "Turning Point," "That's All Right," and "I Can't Quit You Baby" may have wowed the homefolks, but they don't hold up all that well when transferred to the digital format. Young's quartet features Freddie King's brother, Benny Turner, on bass, and Lafayette Leake on piano.

Bliss is DJ and producer Steffen Aaskoven and the classically trained Marcgeorge Andersen. On this album, Bliss collaborate with none other than Boy George, on the highly acclaimed single, 'American Heart', as well as Lisbeth Scott (from Steven Spielberg's Munich And Mel Gibson's The Passion Of The Christ) on the title track (and single) 'No One Built This Moment'. Also includes musical assistance from Sophie Barker from Zero 7.

Prominent in the German Romantic imagination, the figure of the wanderer was also taken up by Franz Schubert. He composed a lied of that name, the theme of which was later to be found in his virtuosic Fantasy in C major, later aptly dubbed the "Wanderer-Fantasie". A tireless wanderer himself, Franz Liszt transcribed Schubert's lied for piano and presented several versions of the Fantasy in C, including one for piano and orchestra and another for two pianos. Here Sylviane Deferne presents the rarest of Liszt's transcriptions of the "Wanderer-Fantasie", the one for solo piano, with the last movement completely rewritten by the composer. Two works by Schubert complete the program: the 4 Impromptus Op.142, written a year before his death, and a rarely recorded early work, the Variations on a theme by Anselm Hüttenbrenner.

Classical music listeners resort to ethnic and national generalizations too often. Some of the most insightful Beethoven interpreters were French, and there are plenty of classic non-Czech recordings of Dvorák. Yet there's something uniquely satisfying about this version of the much-recorded Slavonic Dances (both sets, Op. 46 and Op. 72), and the satisfaction has something to do with the all-Czech origins. Take for example the match between the superb sound, recorded in Prague's Rudolfinium hall, and the texture of Jirí Belohlávek's Czech Philharmonic Orchestra, an ensemble he has molded into his own.

Acclaimed young cellist Maciej Kulakowski (Lutoslawski International Cello Competition 2015, First Prize; Queen Elisabeth Competition 2017, Laureate) is partnered by pianist Jonathan Ware in an all-French recital programme that mingles the familiar with the reimagined. Elements of ‘Spanish’ style, blues and jazz, and the ironic humour of the Parisian café, encountered in sonatas by Debussy, Poulenc and Ravel (Ku_akowski’s cello rendering of the latter’s second violin sonata), are echoed in a brace of shorter works that includes several further transcriptions: of three short pieces by Debussy and of Satie’s Trois Gnossiennes.

With SOLO PIANO, Glass presents himself "unplugged" - no electronic keyboards or synthesizers, and no overdubs, either - just solo piano. Here, Glass' connection to the established "classical" tradition is most evident. Though his pieces are "minimal" (subtly altered repeated patterns or melodic motifs), yet they have an unsentimental beauty and heartfelt grace that one would hear in J.S. Bach's English Suites, as well as the piano music of Chopin and Erik Satie.

Through her generous movements on the instrument and a feel for the piano that seemed like painting color on a canvas, Daria’s feelings were externalized in sounds, which made up the sublime, romantic music.