New recording from Elisabeth Leonskaja - an album which pays tribute to the second Viennese school featuring works by Berg, Schoenberg, Webern. One of the most celebrated pianists of our time, remaining true to herself and to her music, and in doing so, is following in the footsteps of the great Russian musicians of the Soviet era, such as Sviatoslav Richter and Emil Gilels… "When I play, I am not presenting myself on the stage, but the music I am playing. It is the music that matters." EL

Kiln House is the fourth studio album by British blues rock band Fleetwood Mac, released on 18 September 1970 by Reprise Records. This is the first album after the departure of founder Peter Green, and their last album to feature guitarist Jeremy Spencer. Christine McVie was present at the recording sessions and contributed backing vocals, keyboards and cover art, although she was not a full member of the band until shortly after the album's completion.

In his new live recital Grigory Sokolov brings his unmatched musicianship and command of the piano to the music of Purcell and Mozart, followed by encores which are far more than celebratory extras. This is music-making to be treasured and another indispensable addition to the catalogue.

In the United States, Brazilian trombonist Raul De Souza is best known for his Capitol releases of the late '70s. But his first session as a leader actually came in 1964, when he recorded À Vontade Mesmo for the Brazilian market. The LP wasn't released in the U.S., and it wasn't until the '70s that De Souza provided any American releases. These 1964 performances are excellent. When De Souza (who is listed as Raulzinho) recorded this album, the bossa nova explosion was in full swing - and plenty of musicians (both Brazilian and American) were trying to cash in on bossa nova's popularity. But while À Vontade Mesmo is instrumental Brazilian jazz, the album isn't bossa nova - certainly not in the Stan Getz/Charlie Byrd sense. Bossa nova was a fusion of cool jazz and samba; À Vontade Mesmo, however, has more of a hard bop/samba outlook…

Rococo were one of the most exciting rock bands performing in London in the 1970s, and were usually categorised - as everything had to be in those days - as a progressive rock group, a genre well represented on "The Firestorm And Other Love Songs", the second Rococo album from Angel Air Records which was recorded in the period 1973 to 1978. Released a year after their debut album, the critically-acclaimed "Run From The Wildfire", the second collection also features the band’s lighter side, further revealing the diversity and range of styles, and the ability to switch from one to another with ease, that made it difficult for record labels to figure them out…

Thirty Seconds Over Winterland, originally released in 1973, was the final original album release from rock icons Jefferson Airplane. Captured live in concert, the album finds the early '70s edition of the Airplane (with Grace Slick, Paul Kantner, Jorma Kaukonen and Jack Casady joined by Papa John Creach, David Freiberg and Johnny Barbata) at their hardest rocking, on a set that focuses on their latest material while acknowledging the Hot Tuna splinter group and glancing backward to their groundbreaking '60s work. Although their contemporary studio albums were somewhat disjointed, Jefferson Airplane were still a unified force onstage and many fans regard this period as the Airplane's live peak.

If the recognition of one's peers is the true measure of success, then few men are as successful as composer, arranger, and conductor Henry Mancini. In a career that spanned 40 years, writing for film and television, Mancini won four Oscars and twenty Grammys, the all-time record for a pop artist.

This 25-track collection brings together some of the most inspiring blues harp performances on record. With the exception of John Lee "Sonny Boy" Williamson's "Bring Me Another Half a Pint" (what's better known as Jimmy Rogers' "Sloppy Drunk" and originally penned even earlier by Lucille Bogan) from 1948, everything on here was recorded in the '50s to the late '60s at the height of the electric blues boom. Representative and sometimes definitive performances from Big Walter Horton ("Easy," "Need My Baby" and the solo on Jimmy Rogers' "Walkin' By Myself"), Little Walter ("Roller Coaster"), Jimmy Reed ("Found Love"), Snooky Pryor ("Boogie Twist"), Sonny Boy Williamson ("99"), Jerry McCain (the rare, alternate take of "Steady") and Little Junior Parker ("Sweet Home Chicago") pepper this set…

Highway 61 Revisited is the sixth studio album by the American singer-songwriter Bob Dylan, released on August 30, 1965, by Columbia Records. Dylan continued the musical approach of his previous album Bringing It All Back Home (1965), using rock musicians as his backing band on every track of the album in a further departure from his primarily acoustic folk sound, except for the closing track, the 11-minute ballad "Desolation Row". Critics have focused on the innovative way Dylan combined driving, blues-based music with the subtlety of poetry to create songs that captured the political and cultural climate of contemporary America. Author Michael Gray argued that, in an important sense, the 1960s "started" with this album. Highway 61 Revisited peaked at No. 3 on the US Billboard Top LPs chart and No. 4 on the UK Albums Chart. Positively received on release, the album has since been described as one of Dylan's best works and among the greatest albums of all time, ranking No. 4 on Rolling Stone's "The 500 Greatest Albums of All Time list in 2003 and repositioned to No. 18 in the 2020 revision.

Captured Live at the Forum is the third album by American rock band Three Dog Night, released in 1969. The album was recorded at The Forum in Los Angeles. According to Three Dog Nightmare, Three Dog Night opened this show in support of Steppenwolf, who were recording various shows on their 1969–70 tour for an upcoming live album (Steppenwolf Live, released 1970). Steppenwolf and Three Dog Night both recorded for the ABC/Dunhill label and shared the same production team, and it was decided to also record Three Dog Night on this occasion, despite the band's having only released two prior albums. The choice paid off, as Captured Live at the Forum reached #6 on the Billboard album chart. All the songs featured on Captured Live at the Forum were previously issued in studio versions by Three Dog Night. "Feelin' Alright", "Eli's Coming", and "Easy to Be Hard" were included on the band's second studio album Suitable for Framing, and the remainder on their eponymous first album.

Sir Adrian Boult Neither as colorful a public figure as fellow Briton Thomas Beecham, nor as stormy and commanding on the podium as some of his better-known international contemporaries, Adrian Boult nevertheless was one of Britain's foremost conductors for nearly 70 years. He championed contemporary music, introducing Holst's The Planets and Berg's Wozzeck to the British public, but his pioneering work with the BBC Orchestra, which he created and directed for 20 years, is often regarded as his signature achievement. Born to a wealthy shipowner, Boult spent his grammar school days in London at Westminster School and took to music early. At Christ Church, Oxford, Boult flourished under the guidance of conductor Hugh Allen. In addition, Boult worked with Artur Nikisch during a stay at the Leipzig Conservatory (1912-1913).

The group's second album was virtually a re-creation of its predecessor, only slightly more sophisticated in its range of songs and the manner of playing them, and the in-house writing had improved, though the latter also became highly derivative. Steppenwolf the Second embraces everything from hard rock to psychedelia to blues, and the band is in excellent form, playing very hard and edgy, except on the deliberately lyrical, reflective "Spiritual Fantasy," a rare acoustic number for the group.

More than any other artist to emerge from the fertile black metal scene of the early ‘90s, Ihsahn has firmly established himself as an unpredictable maverick. Frontman and chief composer with the legendary Emperor, he re-wrote the rulebook on epic extreme music across a series of albums that are still widely regarded as classics. Ihsahn’s unique approach and liberated musical ethos ensured that when he embarked on a solo career, fans were primed to expect the unexpected. Full conceptual album, presented in two versions: Metal and Orchestral. Ihsahn has created his best and most unique and powerful album to date. In line with the cinematic inspirations, music and lyrics follow two parallel narratives with recurring themes throughout. The main story is presented in the metal version, whereas the secondary story is rooted in the orchestral version, although bleeding into the main story.

Inspired by his Highland heritage, the young tenor Glen Cunningham presents a personal and heartfelt journey through music connected to Scotland, both native and international, old and new. The focus of the new is a commission by fellow Highlander Stuart MacRae, setting five poems of Robert Louis Stevenson.At the album’s core, meanwhile, are Schumann’s settings of Robert Burns, showcasing the poet’s influence on the world of lieder, alongside arrangements of Burns’ songs by Scottish composers. Joined by pianist, friend and regular duo partner Anna Tilbrook, Cunningham offers a rich, evocative programme that reflects his deep connection to the landscapes and stories of his homeland.

It is the year 1900: the new century has just started when two young composers independently from each other publish new additions to the string octet literature. The Romanian George Enescu at the tender age of eighteen already has gathered more musical experience than most musicians twice his age. As a composer he sets himself a complex and daunting task: his octet is in four movements, yet played together they reveal a sonata form (a structure applied to the first movements of some famous symphonies), consisting of an exposition, a development and a recapitulation. The sonata form with its statements and contrasting statements is like a dramatic monologue with arguments and counter-arguments: the young Enescu, with his formal experiment, brings fragments of his Romanian background and Viennese and French musical upbringing together into a unity and thus draws us into his inner world.In contrast, the twenty-one year old Ottorino Respighi rather goes the other way: he becomes the observer, the filmmaker with the dramatic flair of capturing beautiful images in music, just as he would later do with equal conviction in works like Pini di Roma or Feste romane.