The second of flugelhornist Art Farmer's two Concord albums is the equal of his first. For this Concord outing, the mellow-toned brassman performs four standards (including "Moose the Mooche," "Three Little Words" and the title cut) along with selections from Fred Hersch (who plays piano on this quartet outing), Tommy Flanagan and Benny Golson. With fine support from bassist Ray Drummond and drummer Akira Tana, Art Farmer is heard in prime form, playing in his appealing lyrical bop style.

This is an extraordinary compilation of the progressive and psychedelic music sub-genre known as "Krautrock". On six CDs, consisting of nearly 480 minutes of music, you will find an overview of some of the most creative styles of music from the "Deutschrock"-phase. This is the second time that such a huge spectrum of bands and artists of so many varying styles within this genre is found on one compilation. Accordingly, it is an absolute highlight for veteran fans as well as newcomers. Scorpions, Eloy, Guru Guru, Embryo, Kraan, Amon Düül II, Popul Vuh, Grobschnitt, Os Mundi and many more.

The Software "team" is merely an extension of Michael Weisser and Peter Mergener. Syn-Code: Symphony for Computer and DNA Molecules, Life-in-Concept is based on a science-fiction novel by Weisser. It is a set of Berlin school electronica with samples and atmospheres.

Tallis Scholars are among the world's preeminent choral ensembles. Cultivating a distinctive vocal sound backed by impeccable scholarship, the group has helped raise the general level of interest in Renaissance choral music in Britain and beyond through a large catalog of recordings and numerous international tours.

The performance given on 21 March 1967 at Carnegie Hall in New York stems from the now outmoded tradition of casting baritones and basses in the castrato roles, and uses a special concert arrangement. Not only are several cuts made to the score, but the order of the arias is changed and the recitatives are heavily truncated and provided with new English texts, and given not to one of the characters but to a 'narrator'.

With this new recording, the madly epic and romantic opera, Il Giustino, finally receives its place in the spotlight, something that the history of music has denied it up until now. The fifty-eighth recording and eighteenth opera in the Vivaldi Edition, which began in 2000, solidifies the status of Vivaldi as the greatest of opera composers - and of composers full stop. It needed the talent, charisma and poetic energy of a great conductor to bring back to life this gem, and it is Ottavio Dantone who assumes this mantle.

In commemoration with her concert in Japan in July, Sarah Brightman brought a new greatest hits album exclusively released in Japan. The album includes leading songs in her career such as "Time to Say Goodbye (solo version)," "Nessun Dorma," "Canto Della Terra," "Stranger In Paradise," and "Pie Jesu." Features the high-fidelity SHM-CD format. Japanese original release. Tracks 16-18 are bonus tracks.

During 1969 and 1970, CCR was dismissed by hipsters as a bubblegum pop band and the sniping had grown intolerable, at least to John Fogerty, who designed Pendulum as a rebuke to critics. He spent time polishing the production, bringing in keyboards, horns, even a vocal choir. His songs became self-consciously serious and tighter, working with the aesthetic of the rock underground – Pendulum was constructed as a proper album, contrasting dramatically with CCR's previous records, all throwbacks to joyous early rock records where covers sat nicely next to hits and overlooked gems tucked away at the end of the second side.

Two great Shostakovich concertante works, in dazzling performances from soloists István Várdai (cello) and Aleksey Semenenko (violin), with accompaniment from the BBC Philharmonic and conductors John Storgårds and Martyn Brabbins.

"Rademann conducts with feeling and strives for a round and harmonious sound. The musicians of the GaechingerCantorey play excellently and show that historically informed performance practice and Romantic music-making are not necessarily mutually exclusive.necessarily mutually exclusive. It is the result that counts. And that is more than convincing with Rademann and his Cantorey.Above all, because the listener can't get enough of it."pizzicato