Handel wrote Floridante in 1722 for a London audience infatuated with Italian opera. The plot, like that of so many Baroque operas, was taken from ancient history and concerns romantic liaisons thrown into turmoil by political rivalries, in this case between Persia and Tyre. Handel wrote over 50 Italian operas, and it's remarkable that he was consistently able to summon such a high level of inventiveness and inspiration when faced repeatedly with librettos that must have come to look depressingly alike in the conventions of their labyrinthine plots.

Jennifer Vyvyan is the star of Handel’s Semele in an early recording of the opera conducted by Anthony Lewis and recorded for L’Oiseau-Lyre in 1956; this pioneering Handel recording of the 1950s in a new digital remastering, released on Decca CD for the first time.

A portrait of d'Artagnan in the form of a tribute to Alexandre Dumas, illustrated by authentic pieces of music written by Lully and Philidor for the real Musketeers. Trumpets and kettledrums, oboes and side-drums play the favourite marches and trios of the royal regiments in alternation with passages from the novelist's prose. A fascinating meeting between history and fiction.

Jan Caeyers is a Belgian conductor, musicologist, Beethoven expert and biographer. His passion for Viennese classical music, and Beethoven in particular, has resulted in a long history of conducting in European concert halls.

Zimerman is the very model of a modern virtuoso. His overrriding aim is vivid projection of character. His quasi-orchestral range of dynamic and attack, based on close attention to textual detail (there are countless felicities in his observation of phrase-markings) and maximum clarity of articulation, is the means to that end. As a result, he draws out the many connections in this music with the romantic tradition, especially in pianistic tours de force such as ''Les collines d'Anacapri'', ''Ce qu'a vu le vent d'Ouest'' and ''Feux d'artifice'', which are treated to a dazzling Lisztian elan the equal of any Debussy playing I have ever heard.

Bernard Haitink is internationally renowned for his interpretations of Bruckner and is widely recognized as the world s leading Bruckner conductor. Bruckner s fourth, nicknamed the Romantic, conjures up visions of mediaeval knights, huntsmen and enchanted woodlands, particularly through the prominent use of the horn. One of his most popular pieces, it was treated to many revisions by the composer. This recording features Haitink leading the London Symphony Orchestra in the second version of the 1877/8 Nowak edition (published 1953) with the 1880 Finale.

Working this time as a trio, Unwind's fifth recording for Rattle offers a set of elegant, unabashedly lyrical new works that explore the open, contemplative landscapes they have coursed since their self-titled debut in 2017. The space-conscious compositions on Embers are serene meditations resonant with a plaintive universal awareness that is undeniably personal.

All tracks recorded live in concert June 14 2009 in Norfolk, UK.Issued in a trifold digipack with front sticker showing date and venue.Third disc only contains digital photos from the concert (no audio).

The album contains one, but monumental work - the Neo-Romantic Symphony in F major by Emil Mlynarski, subtitled "Polonia" by the composer. Following its initial triumph, when it was presented under the baton of the composer himself on many world stages, the Symphony fell into an almost complete oblivion. The composer included a quote from Bogurodzica and the Albosmy to jacy tacy krakowiak; we can also find here other national dances. Mlynarski provided the work with an extensive programme commentary; his intention was to illustrate the history of Poland with music - in addition to the motif of fate, appearing throughout all four movements, one can also clearly hear weapons clanging, the thud of galloping hooves - called the knightly motif - fanfares and the tragic fates of the defeated heroes. In the musical layer, Polonia reveals typical sources of inspiration of young Polish composers of that time - pieces by Wagner, Liszt and Strauss. Under the baton of their artistic director, the Poznan Philharmonic appears as an ensemble operating with an exceptionally beautiful, coherent sound, which emphasises the values of the composition, the richness of its motivic material and instrumentation.

Nicky Higginbottom departed Paul Brett's Sage after the release of the band's eponymous debut album, and with her went the haunting flute that gave much of the album such a rich, pastoral sound. But the band was already moving in a new direction, exploring rock's roots and the genre's many permutations. Jubilation Foundry welds Sage's varied influences onto their sleeves, from "Cottage Made for Two," an homage to the Everly Brothers, to the gospel fired "Help Me Jesus" and the Stax inspired "Hold My Hand Mother." There are tributes to Southern blues and Southern rock, nods to singer/songwriters Cat Stevens and Harry Nilsson, and even a tip of the hat to the Beatles. With the group here sporting rich harmonies, the emphasis is on great songs in a variety of musical veins and moods, with singalong choruses, memorable melodies, and flashy musicianship evident throughout the album.

Hailing from the mist-clad highlands of Scotland, Saor is a band that breathes life into history with their majestic blend of black metal intensity and Celtic folk melodies. Guided by the spirit of Caledonia, Saor's music transcends time, echoing the ancient tales of their homeland. Amidst the melancholy ruins and the grandeur of nature, their latest album, Amidst the Ruins, majestically intertwines the past with the present. From the haunting echoes of Glen of Sorrow that recounts the betrayal of the Massacre of Glencoe, to the forest's whispered secrets in The Sylvan Embrace featuring Jo Quail, each track is a portal to Scotland’s rich heritage. This album is a tribute to the timeless landscapes and ancestral spirits, capturing the soul of a nation in every note…

Kenny Dorham's Matador can safely claim the all too common distinction of being a classic among jazz connoisseurs while virtually unknown to the casual listener. Dorham is joined here by Jackie McLean, Bobby Timmons, Teddy Smith, and J.C. Moses, all of whom deliver outstanding performances. More than anything, this session is perhaps best known for including a stunning version of McLean's composition "Melody for Melonae," used less than a month earlier on his groundbreaking Blue Note LP Let Freedom Ring. For this session, though, the tune is renamed "Melanie" and, if not better, this version at least rivals the take under McLean's leadership. For starters, the addition of another horn adds some tonal depth to the proceedings, a situation arguably lacking in the tune's earlier recording…

Initially formed in the late Sixties as solo singer Guy Darrell’s backing band, Deep Feeling were active for several years before eventually splitting in the mid-Seventies, at which point the majority of band members moved into session work. Their opening run of singles in 1970 had seen them score a couple of minor hits with their lush, slowed-down, harmony pop versions of ‘Do You Love Me?’ and ‘Do You Wanna Dance’. The following year, the band cut an ambitious, highly eclectic album that showcased their dazzling harmonies and superior musicianship. This self-titled set (also known in some quarters as the Guillotine album) is now an extremely collectable item amongst UK progressive rock aficionados, although it failed to sell well at the time. Featuring a 16-page booklet with many rare photos and the band’s full story, this first-ever official reissue of their album is joined by thirteen non-LP tracks…

When The Omega Syndicate burst onto the scene in 2004 with their exhilarating debut “Analogue Waves” they quickly made quite an impression and many friends into the bargain. In a UK scene often accused of being lacklustre and amateurish, The Omega Syndicate have flown in the face of any such criticism with their exciting and dynamic fresh sounding take on the traditional Berlin School sound. Although they are creating long tracks with synths, sequencers and Mellotrons, what they produce is wholly original and while it can be said firmly and squarely to be “Berlin School”, it doesn’t always sound like a clone of Schulze or Tangerine Dream.

TWO PRE- DEBUT ALBUM RADIO SESSIONS FROM A YOUNG JOHN PRINE Among the finest American singer-songwriters of all, John Prine is often tagged the best kept secret in rock. But despite his status remaining fairly low-key among the general public, even 50 years after his recording debut, he can boast an army of famous fans ranging from Bob Dylan and Bruce Springsteen to Billy Bragg and R.E.M. In 1970, Prine was the upcoming bright, young hope in and around the Chicago folk clubs, most notably the 5th Peg, where he would often perform at open mic nights. In August 1970, one such show at the 5th Peg was recorded for live FM broadcast, and this recording makes up the first part of this CD. The second part comes from a little later the same year, when legendary Chicago DJ and presenter Studs Terkel invited the young performer onto his radio show at 98.7 WFM Chicago, to play a further set of songs on live radio. These two sessions remain the earliest known recordings of John Prine and remain in near perfect quality for all to enjoy, half a century after they were recorded.