A collection of great performances by the renowned violinist Itzhak Perlman. 33 tracks, approx. 3 hours and 18 minutes. Debussy/Altman: The Girl with the Flaxen Hair, Debussy/Dushkin: Petite Suite - Minuet, Vivaldi: Summer - 3rd Movement, Bach: Sonata for Solo Violin No. 1 - 3rd Movement, Kreisler: La vie dell'Amour, Elgar: Salut d'Amour, and more.

A total of 86 tracks, about 3 hours and 42 minutes of recording. A collection of masterpieces by conductor Hugh Wolff. Dvorak: Cello Concerto (Rostropovich), Haydn: Symphony No. 1 to 3rd Movement, Stravinsky: Suite for Small Orchestra No. 1 and No. 2, Copland: Appalachian Spring, Ravel: Ma Mère l'Oye, Bartók: Suite: The Miraculous Mandarin, Bach & Gounod/Arranged by Passatieri: Ave Maria (Hampson), and more.

Total of 53 tracks, about 3 hours 44 minutes. Alexandre Tharaud's original interpretation of piano performance, who has a fantastic way of manipulating the piano. In particular, the collection of short pieces recorded here allows you to find such picturesqueness. Satie: Three Gymnopédies No. 1, Debussy: In a Boat, Bach: Prelude in C minor BWV999, Khachaturian: Album of the Child, Volume 1, Op. 62 No. 1, Lully/Tharaud: From "The Townsfolk", Schubert: Moments Musicaux No. 3, Mendelssohn: Songs Without Words, Op. 67 No. 2, Gershwin: My Boyfriend, John Williams: Main Theme from "Schindler's List", and more.

Queen is the debut studio album by the British rock band Queen, released on 13 July 1973 by EMI Records in the UK and by Elektra Records in the US. It was recorded at Trident Studios and De Lane Lea Music Centre, London, with production by Roy Thomas Baker, John Anthony and the band members themselves. The album was influenced by heavy metal and progressive rock. The lyrics are based on a variety of topics, including folklore ("My Fairy King") and religion ("Jesus"). Lead singer Freddie Mercury composed five of the ten tracks, lead guitarist Brian May composed four songs (including "Doing All Right", which he co-wrote with his Smile bandmate Tim Staffell), and drummer Roger Taylor both composed and sang "Modern Times Rock and Roll". The final song on the album is a short instrumental version of "Seven Seas of Rhye," the full version of which would appear on the band's second album, Queen II.

Beat the Border is the second studio album from Ugandan artist Geoffrey Oryema. It was released in 1993 through the Real World label. Notable collaborators to Oryema on this album include Jean-Pierre Alarcen (Lead guitar), Brian Eno, Manu Katché and Ayub Ogada. The album evokes the spirit and culture of Africa for those who live in first world countries.

Never one to relegate particular instruments to merely supporting roles, Hindemith composed his String Trio No. 1 (1924) with an eye (and ear) toward complete equality among the parts. The Trio is written in an almost constantly contrapuntal texture that makes much use of canon and fugue techniques; virtually the only instances where a homophonic texture is evident are those that mark important structural divisions of the movements. Though much of the music has an atonal feel, Hindemith provides a sense of direction by establishing tonal centers as points of momentary resolution. Typical of Hindemith's music of the early 1920s, the Trio is marked by a bracing, energetic spirit. The String Trio No. 2 strongly contrasts with its predecessor, the String Trio No. 1 (1924), which is marked by a strong feeling of atonality. When Hindemith wrote the present work nearly a decade later, his style had evolved somewhat. The Trio No. 2 is built on standard Classical forms but incorporates Hindemith's personal sense of tonality, in which any note or chord may be related to a given tonal center; the music has a refreshing, non-Romantic sound.

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.

2018 debut album, by prodigious keys player, composer and producer Joe Armon-Jones, is buoyant, celebratory and welcoming. With a background in jazz, he draws from influences in dub, hip-hop and soul. Different traditions are infused and commingled together. Soulful brass arrangements are colored with carefully-tuned atmospherics; individual flashes of brilliance are bound into the album's bigger picture. He's part of London's young, jazz-influenced music scene. Drawn from that same close-knit circle, the album features the likes of Moses Boyd, Nubya Garcia and Oscar Jerome. It's playing with those - along with Ezra Collective, which he co-founded, and touring with the likes of Ata Kak and Pharoahe Monch - which has honed his playing and grown his ideas. It's made for a record with an unmistakable depth. He draws on deep musical understanding, making music which is warm and has a feeling of joy. A document of his vision for bringing together his different influences, it's also a testament to hard-earned, head-turning musical virtuosity.

Nine tracks of the Basie band in its prime playing music composed and arranged by Quincy Jones - that should be enough to tell you this is a superb album. All nine of the originals are virtually forgotten today but are very well-played by this veteran band. Although Frank Foster was still in the band, Eric Dixon (on tenor and flute) was starting to assert himself as a major solo voice while trumpeter Snooky Young has a few strong spots.

Although it has been clearly established for which instruments the Musical Offering and the Art of Fugue were intended, the Musical Offering has continued to be the object of realisations for other instruments, such as Anton Webern's orchestrated version of the Ricercar à 6. Here Cindy Castillo marks the completion of a new organ in the German baroque style by Dominique Thomas in the church of Saint-Loup in Namur with her own realisation of this work, a monument to the late Baroque style.

José de Nebra was to Spanish opera what Rameau was to French opera, both pioneer and architect of the revival of the genre in the eighteenth century. His pastoral melodrama ‘Venus y Adonis’ is recorded here for the first time almost 300 years after its premiere, by Alberto Miguélez Rouco and his ensemble Los Elementos.The result of a meticulous reconstruction by the conductor, a specialist in the composer, this recording allows us to rediscover both the splendour of Nebra's work and the singularities of the exuberant Hispanic Baroque, which is still too little known. Sung exclusively by women, ‘Venus y Adonis’ blends Italian style and traditional Spanish turns of phrase (the aria ‘Calquiera mozuela’, which combines fandango, zarambeque and castanets), with numerous borrowings from zarzuela. Based on one of mythology's most illustrious subjects, the work juxtaposes comedy (the duet of “chickens”) and seriousness, with more sensitive arias, such as the moving farewell aria by Adonis (Natalie Pérez).

A few of these small choral gems are well known to amateur choirs, and Poulenc's secular choral pieces are more often presented one at a time on choral albums than in the groupings in which they were originally included. Francis Poulenc: Secular Choral Music offers the composer's very first choral piece, the Chanson à boire for men's voices (1922), but most of the music here dates from either the late '30s (the Petites voix, for female or children's voices, and Sept chansons) or the World War II era (Un soir de neige), the folk-song settings entitled Chansons françaises, and the ambitious Figure humaine, whose final number, "Liberté," was dropped in sheet music form over French cities by Britain's Royal Air Force. Someone once described Poulenc as "part monk, part hooligan," and these a cappella choral works give evidence of both tendencies. The Chansons françaises are cheerful pieces with just a shade of extended harmony, almost French counterparts to Bartók's folk song settings, while the more serious pieces, such as "Un chien perdu" (A Lost Dog), from the Petites voix, have a mystical tinge that links them strongly with Poulenc's better-known sacred choral music.

Nearly a century before Gluck, another opera called Iphigénie en Tauride – same plot, same protagonists – had immense success on the opera stage. This ‘first’ Iphigénie has rather a curious history. The opera was sketched out by composer Henri Desmarest around the year 1695, but he was then banished from France by Louis XIV for having married a young girl without her father’s consent. The uncompleted score of Iphigénie was then entrusted to André Campra. The opera, since lost and forgotten, was rediscovered by Benoît Dratwicki, Director of the Centre de Musique Baroque de Versailles, who marvels at its stylistic unity: ‘Campra easily adopted Desmarest’s style. He just added some virtuoso arias to the divertissements, as well as the tuneful choruses that were his speciality.’ Iphigénie en Tauride had its premiere on 6 May 1704, and was revived throughout Europe from 1711. Thanks to Hervé Niquet, a top-flight team of singers, an orchestra well versed in French repertoire, and all their collaborative research into the practices and specific playing techniques of the early 18th century, Iphigénie sees the light of day once more.

Flora Hibberd’s debut album *Swirl* is a rich tapestry of sound and meaning, influenced by her background as a translator. The Paris-based British songwriter uses her experience to explore the nuances of language, decoding the slippages where English and French intertwine. These linguistic intersections become moments of strange poetry, revealing hidden threads of life and deepening our understanding. Hibberd’s songwriting process involves searching for jarring words and natural language breaks, mirroring the framework she uses as a translator to understand how symbols and meanings shift. *Swirl’s* 11 tracks are infused with secret codes, non-verbal signifiers, and intricate musical layers. Produced by Shane Leonard in Eau Claire, Wisconsin, the album features contributions from a versatile group of musicians, including JT Bates, Ben Lester, Pat Keen, and JE Sunde.

This recording combines three of the most significant musicians belonging to the generation of the empfindsame or “sentimental” style. As reaction to the late baroque of J.S. Bach and Handel, they systematically explore contrast and extreme juxtapositions in their compositions. This avant-garde style remained in fashion only for a short period but anticipated many pre-eminent aspects of the early romanticism. In this recording a harpsichord concerto by W.F. Bach (J.S. Bach’s eldest son) is combined with two concertos by Bohemian composer G. Benda. They perfectly illustrate the empfindsame style, quickly oscillating between excitement and melancholy, furious frenzy and serene calm. The program concludes with major solo harpsichord pieces by C.P.E. Bach and a beautiful Adagio and Fugue for orchestra by W.F. Bach – showcasing the composer’s ability in the stile antico.