The treatise Nuova inventione d’intavolatura, per sonare li balletti sopra la chitarra spagniuola (“A newly invented tablature for playing balletti on the Spanish guitar”), published in 1606 by Girolamo Montesardo, radically revolutionized the way to write and perform guitar music. For the first time, an extremely practical guitar notation was proposed: the alphabet. It consisted in the correspondence between any chord, whether major or minor, and a letter. This simplified way of writing finally enabled any amateur or professional musician who owned a guitar to play a dance or accompany a voice, by performing the “letters” written on a single stave with superimposed rhythmic information.

The new album by the David Orlowsky Trio takes the listener on a journey from Klezmer & Jazz to Classical Music, inspired by the musicians’ travel impressions of cities such as Paris, Bucharest, Vienna & Odessa. All x12 pieces are composed by the trio and contain characteristic musical elements of each country they have visited – a homage to diversity & music as a universal language. The David Orlowsky Trio has established itself as a pioneer in the field of world music.

Canadian soprano Maureen Batt will be releasing her debut album „Lady of the Lake“ in collaboration with independent label Leaf Music​. Batt has joined forces with pianist Simon Docking, bass-baritone Jon Paul Décosse as well as the Halifax Camerata Singers to record two exciting song cycles based on the epic poem ‘Lady of the Lake’ by Sir Walter Scott.

‘Remember, I am’ is a journey towards ownness, a weaving of threads, embracing of death, dissolving of illusions, traditions and norms, the breathing in of life for all it has to offer, an intimate exposé of fallen layers leading to an unremarkable revelation; the intimacy and fragility of the human voice, my own imperfect voice.

In 2012, too, there are prominent treasures to be found: Aapo Häkkinen plays Bach’s Concertos for solo harpsichord and strings – the crown jewels of the harpsichord and piano literature – on a 16’ harpsichord, that is to say, an instrument with an additional, very low sounding register. Although Bach probably used a similar harpsichord himself, this is the first recording of this cycle of works on an instrument of this kind built in a historical manner!

An unblinking look at an entertainment-obsessed society, Amused to Death addresses issues that have only grown in complexity and urgency over the past two decades. With Amused to Death, Roger Waters sounded the alarm about a society increasingly — and unthinkingly — in thrall to its television screens. Twenty-three years later, Amused to Death speaks to our present moment in ways that could scarcely have been anticipated two decades ago. In 2015, television is just one option in an endless array of distractions available to us anytime, anywhere, courtesy of our laptops, tablets and smartphones. With eyes glued to our screens, the dilemmas and injustices of the real world can easily recede from view. The 2015 SACD edition of Amused to Death features a new 5.1 surround remix of the album completed by longtime Roger Waters / Pink Floyd collaborator and co-producer, James Guthrie. The art has been updated for 2015 by Sean Evans, the creative director of Waters’ 2010-2013 “The Wall Live” tour and movie.

In 2012, too, there are prominent treasures to be found: Aapo Häkkinen plays Bach’s Concertos for solo harpsichord and strings – the crown jewels of the harpsichord and piano literature – on a 16’ harpsichord, that is to say, an instrument with an additional, very low sounding register. Although Bach probably used a similar harpsichord himself, this is the first recording of this cycle of works on an instrument of this kind built in a historical manner!

Karl Böhm's 1971 Deutsche Grammophon recording of Mozart's Requiem has long been regarded as the best, deepest, truest, and most Austrian recording of the work. With the Wiener Staatsopernchor and the Wiener Philharmoniker, plus soloists Edith Mathis, Julia Hamari, Wieslaw Ochman, and Karl Ridderbusch, Böhm created a fuliginously sorrowful, luminously consoling, and numinously blessed performance of Mozart's final masterpiece and Deutsche Grammophon has wisely kept the performance almost continuously in print since its release.