A noteworthy fact: Marais, in his five books of Pièces de viole, published only two suites for two viols and continuo. Aside from the two suites for three viols (Book IV), all the other pieces are intended for the solo instrument with accompaniment of harpsichord, theorbo or a second viol in different combinations.

The record Pato (Dam) depicts the power of singing together: the happiness of belonging and being united, the comfort of liberation from difficult feelings, the delight of sharing joy, and empowerment even amid difficult challenges. Singing together makes you stop in the very moment to experience beauty. The songs on the record flow through moments of refuge, otherness and loneliness into being united with oneself, the other and nature. The process of making this record also underlines the power of singing: a major part of the practice work took place in the times of isolation on spring 2020, due to restrictions on singing together caused by the pandemic.

The second volume in this series continues to explore little-known examples of Auber’s elegant and refined operatic music. Julie was his first stage work, its fantasia-like beauty foreshadowing the operas, opéras-comiques and lyric dramas to come. Striking melodies and haunting episodes abound in these overtures and entr’actes, and there is restrained yet fragrant Iberian colour in the overture to Léocadie. The Violin Concerto is lightly scored and gentle, with a tarantella-like finale full of folk vitality.

An exceptional project from Manfred Schunke (vocals, electronic effects) and Klaus Schulze (drums) with Apama Chakravarti (on harmonium, tamboura, vocals), Ed Key (vocals, instruments). The concept is about Man creation and human, technological evolution throw ages. Musically the music alternates vibrant dronescapings, cosmic, electro-acoustic noises, esoteric doom like choirs and weird dreamy folk evocations. Their interlocking sound can be compared in some aspects to Organisation's embryonic electronic approach, Klaus Schulze first efforts in agitated drones and Popol Vuh / Deuter mystical sense of composition. Hermetic but monumental and now cult.

Solid Silver is the last Quicksilver album to fit into the group's original time line - although this was really a reunion rather than an actual continuation of their previous work, reestablishing however briefly the classic core lineup of Dino Valente, John Cipollina, David Freiberg, Greg Elmore, and Gary Duncan. And the results are impressive, even at times glorious and soaring, and not just on Valente's compositions, which fill six of the ten slots on the album. His work is as good as ever, and the haunting "Cowboy on the Run" was practically worth the price of the album. But it's Gary Duncan's "Gypsy Lights" that opens the album on a powerful yet lyrical (and memorable) note, and in more of a pop vein than listeners are accustomed to from this band; David Frieberg's "I Heard You Singing" isn't bad, either, and is a lot closer to the band's classic sound…