On their third album, Django Django take another riveting magpie flight through the genres. This time, their artful pop picks inventively from rockabilly (“Tic Tac Toe”), dancehall (“Surface to Air”), acid house (“Real Gone”), and, via a reworked Jan Hammer piano riff, ’70s jazz-fusion (“Sundials”). As always, the quartet’s pop melodies offer graceful counterpoints to busy, compelling rhythms, and each song’s disparate elements move with rigor and precision to create a mesmerizing whole.

« Flying Wolf », c'est le premier disque du pianiste Simon Chivallon en tant que leader. Entre improvisations atmosphériques et jazz post coltranien, au plus près de la mélodie et de la transe; c'est une musique qui se veut brute et authentique. Le disque se dessine au fil des compositions, alternant les moments de turbulences et de contemplation, tel un vol initiatique.

Trip Into Friendship is the project of three musician friends celebrating their long friendship with music. Orlando "Maraca" Valle in Havana, Orlando Poleo in Caracas and Gerard Naulet in Paris have been friends for 20 years. This recording under Orlando "Maraca" Valle's brilliant artistic direction and Orlando Poleo's exceptional rhythmic pulse, with a supporting wink from Gérard Naulet for Latin-jazz, help traditional melodies of Cuba music meet the original compositions of the three musician friends. The "trip" is a tribute to Latin-American music.

Concrete Blonde continues their musical ascent with their second album, „Free“. Just like their debut, this album produced 3 singles "Happy Birthday," "Scene of a Perfect Crime," and "God Is A Bullet," the latter of which was their first big MTV hit & reached the Top 20 on Billboard's Modern Rock chart.

After his first solo album of music by Marchand and Clérambault, released in 2015 and nominated for a Preisder Deutschen Schallplattenkritik, the harpsichordist Luca Oberti, who has performed on the international scene for years alongside such figures as Marc Minkowski and Christophe Rousset, presents a new CD on the theme of Bach’s imaginary journey to Italy.

There is no doubt that we owe the creation of Johannes Brahms' last piano and chamber music works to his meeting with the Meiningen Court Orchestra's exceptional clarinettist Richard Mühlfeld, who inspired Brahms to new heights of creativity. The complementary sonatas op. 120, with their interwoven motifs, are full in equal measure of exuberant joy, driving passion and moments of picturesque calm. A kaleidoscope of emotions, and a sublime, pioneering gift for his admirers and musical successors. In a subtle musical dialogue, Nicolai Pfeffer and Felix Wahl present a refreshing, high-contrast image of this late work, full of powerful yet lyrical nuance.

The inexhaustible strength of a genius: Neither the disillusionment that set in after his exile to the United States nor his declining health stopped Bartók from fulfilling his commission for the Concerto for Orchestra nor from writing the Third Piano Concerto, his final work, intended to secure his wife’s future. Hence his gloomy circumstances led to two masterpieces (and gained him a long-awaited American reputation). They are magnificently served here by Javier Perianes and the musicians of the Münchner Philharmoniker under the direction of Pablo Heras-Casado.

Ludwig van Beethoven was just twenty years old when he first met Joseph Haydn, in 1790. Two years later, the young composer joined the Viennese master’s numerous pupils. But, weary of his teacher’s frequent absences and stung by his criticisms, he soon broke off his lessons, declaring bitterly some years later ‘I never learnt anything from Haydn’.

Composed around ten years apart, the preludes of the young Messiaen and of the artistically established Debussy show some amazing similarities, down to the poetry and mysticism of their titles.

After a Bach album, the tenor Reinoud Van Mechelen and his ensemble A Nocte Temporis present a programme of French music devoted to Nicolas Clérambault (1676–1749), a precociously gifted composer who published four volumes comprising a total of twenty-one cantatas. Reinoud van Mechelen offers us an anthology of these Cantates Françaises – Le Jaloux with its final air ‘Dieu des Amants’, Apollon, L’Amour guéri par l’amour and Pirasme et Thisbé (based on Ovid’s Metamorphoses) – set as a succession of recitatives, airs and simphonies, as in a tragédie lyrique.

Time passes and the harpsichordist Blandine Verlet’s witty imagination doesn’t fade. Regularly rewarded for her legendary records, she releases for the second time pieces of her beloved Couperin: the 13th and 18th so called “ordres” of the Third Book. Known for her unique interpretations, Blandine Verlet’s tempi are sometimes voluntarily slower than prescribed but they are never heavy because she is animated by a strong and lively breath. At the harpsichord, she is carried by her writer’s delicate sensitivity.

Since it was formed in 2007, the Stradivari Quartet has built up an enviable international reputation for itself both through its concerts and recordings. Throughout all of this it has remained in close contact with its audiences, who often follow the players as a loyal and enthusiastic fan base. The Stradivari Quartet is undoubtedly one of the most interesting ensembles currently before the public. All four members are additionally engaged in other artistic activities.

This pairing of concertos Nos 25 and 27, recorded with Chamber Orchestra of Europe, is Piotr Anderszewski’s third Warner Classics album of Mozart concertos. “In Mozart I tend to prefer to direct from the keyboard,” he explains, “His concertos are like chamber works…The piano is in dialogue with the orchestra, conversing and interacting all the time. The two works are very different …No 25 is very grand, complex and sophisticated; No 27, Mozart’s final piano concerto, is in a major key, but underneath it I sense an incredible sadness … It always amazes me how deep this music is.”"

‘Inspiration’ reflects Sheku’s own inspirations and influences, featuring a broad range of music from Bob Marley and Jacqueline du Pre to Shostakovich, including some of Sheku’s own arrangements.

Saxofonist Raphael Imbert released new album Music Is My Hope. This album takes us to a place where music is a gesture protest, prayer, activism, love, all that's holy and unholy. Music rekindles the flames of our universal and personal hopes in the realm of both love and politics. For it can,through its redemptive power, act as a catalyst and bring us together.