Ristori was born in Bologna and after some success with the Venetian opera, went to Dresden in 1715. From the 1720s he was responsible, along with Heinichen and Zelenka, for the music at the religious services at the Catholic court. He was appointed as church composer after Zelenka died. The first work on this CD was composed for the Royal Chapel and he second was written for teaching figured bass.

This collection of songs published in the year following Schubert’s death in 1828 is not a true cycle, nor were these pieces intended as a set by the composer. Even the title, which refers to the Romantic notion of a swan’s ability to sing one enchanting song only at its death, was assigned posthumously by the collection’s publisher. Nevertheless, all but one of these 14 deeply emotional songs (in the best Romantic tradition of desperation, lost love, longing, and wistful, painful remembrance) are set to the poems of two writers, Ludwig Rellstab and Heinrich Heine.

Most '60s bubblegum groups were faceless studio concoctions, made up of hired professionals and given nominal group identities after the fact. The Archies made no pretense of being a real band in the first place - their music, including the smash hit "Sugar, Sugar," was "performed" by the animated TV cartoon characters spun off from Archie comics. In reality, of course, they were a studio concoction made up of hired professionals (most notably lead singer Ron Dante), but in this case, they weren't technically faceless.
The Archies (1968) is their debut studio album.

This LP contains two broadcasts featuring Charlie Parker at Boston's Storyville club in 1953. one set finds him accompanied by the Red Garland Trio (two years before Garland became famous playing with Miles Davis) while the other one also features trumpeter Herb Pomeroy and a trio led by pianist Sir Charles Thompson. The recording quality is just so-so but Bird was in fine form for these sessions, playing hot versions of his usual repertoire.

The English veterans have combined mood tunes with several very strong songs here, with a soundscape that is really fascinating. At the most mellow you may associate the music with early Marillion and late 70's Eloy, while the harder parts stretch out towards prog metal territory. And the mood of the album is a dark one, filled with sadness, grief and anguish - and something undefinable "more". As for instrumentation, the synth is central in adding to melodies and soundscape, as backdrop or floating above the other instruments in the soundscape. The guitars are dark, polished but somewhat gritty, and played so that you'll hear each individual tone to a shorter or longer extent rather than plain riffing. Rhythm section is energetic and hard, often played in a fashion reminding of prog metal. And the vocals are used as an instrument in it's own right as well.

20 years of Pop Ambient. Pop Ambient Music is medicine against illnesses, that you don’t even suffer from. It’s giving everything, demanding nothing.
Musical lotus leafs, off which the virtual wastewater of our time is rolling like the reality is dripping off the matrix.
 In this sense, we’re happy about the pop-ambient anniversary greetings from new and old companions like Thore Pfeiffer, Max Würden, Yui Onodera, Jörg Burger, Thomas Fehlmann, Morgen Wurde, Leandro Fresco aswell as contributions from T. Raumschmiere, Andrew Thomas and, after a long break, from friends from early days like Joachim Spieth, Markus Guentner und Klimek.

Jeff Lynne revived Electric Light Orchestra in 2015 – due to legal reasons, they were now called Jeff Lynne's ELO – releasing a comeback album called Alone in the Universe and steadily mounting a return to the road. Several dates happened in 2016, but the tour reached its apex in June 2017, when the group played in front of 60,000 people at London's Wembley Stadium. Released five months after that June 24 gig, Wembley or Bust – which was accompanied by a concert film – features the entirety of the gig, and if it's not heard too closely, it could sometimes be mistaken for an ELO greatest-hits album.

Released at the front end of 1999's Lilith Fair, Mirrorball is a take-home sampler of the live performances that catapulted Sarah McLachlan into the modern rock stratosphere. Over half of the album's 14 songs are radio hits (including four of the first five), proving McLachlan's worth as a pop songstress bar none, but also hinting at an underlying stagnation in her recent musical output. Though fans of McLachlan and folks who missed her Lilith performances will likely enjoy Mirrorball, it's a little too by-the-book to win any converts or please critical listeners. There is little dialogue between songs, for example, and the sound quality is so pristine that if it weren't for the occasional hoot and holler from the audience, one would never know it's a live album.