This CD explores the Russian tradition of Lieder and traces its endless refinements, helping us to get to know this centerpiece of Russian culture. These Ukrainian performers are twin sisters and together they have performed many lieder recitals. In August of this year they will perform at the Schleswig Holstein Festival. The Lieder are sung in Russian.

After much research, Gudrun Schumann presents a second collection of works by Schumann and his creative contemporaries. These are interesting compositions. The works by Theodor Kirchner and Carl Reinecke are premiere recordings.

Hitting Number 1 in 19 countries on release, Hackney Diamonds marked the return of The Rolling Stones as their first original studio album since 2005’s A Bigger Bang. The album includes the GRAMMY nominated lead single Angry alongside Sweet Sounds of Heaven featuring vocals from Lady Gaga and keys & piano from Stevie Wonder. Late drummer Charlie Watts features on two tracks, ‘Mess It Up’ and ‘Live By The Sword’ alongside Bill Wyman. The album also includes collaborations with Paul McCartney & Elton John. On 15 December 2023, The Rolling Stones released via Polydor an expanded live edition of Hackney Diamonds. The limited edition 2CD version includes the standard album on CD 1 paired with Live at Racket, NYC on CD 2 which features the seven tracks the band performed at the launch event on 19 October 2023 at the Racket in New York, including debut live performances of "Angry", "Bite My Head Off", "Whole Wide World" and "Sweet Sounds of Heaven" (the latter song with Lady Gaga). Also included is a 24-page booklet with photos from the performance by Kevin Mazur.

This CD is part of a series “Robert Schumann and his family and friends” which is dedicated to representing a cross section of works by Schumann and his family. Woldemar Bargiel was Clara’s halfbrother. The works include Clara Schumann’s Three Romances for violin and piano Op.22 and Joachim’s Romance for violin and piano in C major. The performances are on period instruments.

Picture Book is the debut album by British pop group Simply Red, released in October 1985. It contains the #1 single "Holding Back the Years", the band's most successful single, and a cover of The Valentine Brothers' "Money's Too Tight (To Mention)". Three other singles were released from the album: "Come to My Aid", "Jericho", and "Open Up the Red Box". The album includes 'lively' and 'energetic' groove beats and ballad orientated keyboard undertones that help songs such as "Holding Back the Years" to be so effective. Members Tim Kellett and Fritz McIntyre are acclaimed by Hucknall to be the most influential in the album based on the distinctive sound of their playing.

The Black Crowes were dogged with comparisons to the Rolling Stones and the Faces throughout the first decade of their career, so it came as a mild surprise that they teamed with Led Zeppelin guitarist Jimmy Page in late 1999 for a couple of concerts. Zeppelin had a mystique and majesty about them that the Crowes never attempted to emulate. They were an earthy, bluesy rock band and while they found a number of different ways to rework their influences, they never tried the stately grandeur that was Zeppelin's second nature. So, some observers were curious to see how these two approaches worked. Well, it worked very, very well indeed. It shouldn't have come as a surprise that it was a good, comfortable fit since Page always demonstrated a true love of blues and early rock & roll, even on Led Zep's heaviest moments. What may be a surprise, at least to listeners that always dismissed the Black Crowes as revivalist hacks, is how supple and muscular the band sounds on Live at the Greek and how powerful vocalist Chris Robinson is. The double-disc album essentially replicates an entire concert from Page and the Crowes, one of the first before they set out on a full-length American tour in the summer of 2000. They stick to Led Zeppelin classics and old blues and R&B standards like "Woke up This Morning," "Sloppy Drunk," "Mellow Down Easy," and "Shake Your Money Maker," plus the Yardbirds' "Shape of Things to Come" and Fleetwood Mac's "Oh Well." No Crowes songs are here due to contractual reasons - the band left American/Columbia in 1999, and they were not allowed to recut any song they released on the label in the years immediately following their departure; but in a way, that only strengthens the album. By pounding out hard-driving blues-rock and classic Zeppelin tunes, the band is able to stretch out and reveal just what a capable, versatile band they are. The true sign of their abilities is that Page sounds looser and happier here than he has in years; he sounds like he's truly enjoying himself, a quality that is debatable on the Page & Plant records, no matter what their virtues are. Live at the Greek isn't a landmark release, and only hardcore Page, Black Crowes, and Zeppelin fans are likely to want this, no matter how vibrant and lucent these faithful interpretations are. But for those fans, they'll be quite pleased with how good, how strong Live at the Greek is.

As the debut act on the fledgling Alligator label, Hound Dog Taylor obviously holds a hallowed place in owner Bruce Iglauer's heart. That has resulted in more posthumous albums (three) from the raw boogie-blues man than "official" ones (two) released in his lifetime. And that's not including the Alligator tribute disc. Iglauer has returned to raid what must be some pretty threadbare vaults by now, to cobble together this 70-minute collection of live tracks, outtakes, and general leftovers. Fortunately, this barrel-scraping has turned up some real gems, although they are far rougher than what is already in Taylor's gritty, gutbucket rocking catalog. Certainly existing fans won't mind. The rawer than raw - but still far better than bootleg - quality tapes are only for those already in Hound Dog's house…

These two sessions were produced by Lee Kraft in 1957 featuring the inimitable tenor saxophonist John Coltrane in two different formats; a quintet with Donald Byrd, Walter Bishop, Jr., Wendell Marshall and Art Blakey, and a 15-piece big band organized by Blakey. Coltrane was featured prominently in both settings and played exceptionally throughout. While the other soloists were all top-notch musicians, Coltranes compositions and performance clearly stole the show. His solos were powerful and confident, ripping out sequences of 16th note lines that soared over the full range of the horn with complete command.

Markus Maskuniittys debut recording together with the Royal Stockholm Philharmonic Orchestra together with its chief conductor Sakari Oramo, showcases four concertante works for horn and orchestra covering a period of one hundred years (from 1849 to 1951). Robert Schumann described the horn as the soul of the orchestra and he had a profound affinity with the instrument. The most substantial of Schumanns works featuring the horn is the Konzertstück for four horns and orchestra, Op. 86. Schumann considered the work as one of his best achievements as a composer. During 1849, Schumann wrote a total of three works featuring the valve horn.

For its second Delphian recording, The Marian Consort have leafed through the beautifully calligraphed pages of the partbooks compiled in Oxford between 1581 and 1588 by the Elizabethan scholar Robert Dow, to present a deeply satisfying sequence of some of their brightest jewels. Sumptuous motets, melancholy consort songs and intricate, harmonically daring viol fantasies are seamlessly interwoven, all brought to life by seven voices and the robust plangency of the Rose Consort of Viols in the chapel of All Souls College, Oxford – where Dow himself was once a Fellow.

Sir George Solti's renditions of Wagner's operas often defined the standard interpretation practice in the post-World War II musical world, and he is at his best in this late 1980s digitally mastered recording partnered with his long-time collaborators, the Vienna Philharmonic–perhaps the most emotionally satisfying orchestra in the world for these challenging scores. Domingo, in the title role, shows himself as a true Heldentenor (i.e. a baritone with high notes), and his earlier weakness in German diction is not apparent. Norman's Elsa is musically perfect though at times a bit chilly and distant. The mature compassion of the role of Henry the Fowler is admirably captured by Sotin.