Recent musicological research tends to suggest that the 'Markuspassion' is not the work of Reinhard Keiser, essentially for stylistic reasons. However, it has not yet proved possible to attribute it positively to any other contemporary composer, such as Nicolaus Bruhns, or to Gottfried Keiser, Reinhard’s father, and so its paternity is currently uncertain.

With its combination of formal perfection and Romantic inspiration, the piano music of Paul Dukas possesses impressive breadth and nobility. From the nostalgic homage to Claude Debussy to the gigantic Sonata, by way of the intrepid Variations on a theme of Rameau, Dukas’s piano works require interpreters to surpass themselves, and listeners to concentrate in order to discover the unprecedented refinements of French music.

Exploring the quintessence of musical folklore so dear to his heart, in the form of his still neglected ländler and waltzes, right up to the last notes of the Sonata in B flat on the eve of his death, Schubert takes us from the simplest language to the innermost reaches of the soul. One can hardly dream of a more appropriate pianist than Shani Diluka to guide us through these works and offer us an interpretation shifting between shadows and light, touching on the mystery of the invisible, as Novalis said. Here she performs some of the Viennese composer’s finest pieces.

'Every soul and spirit were in his harpsichord,' dramatist Alexis Piron wrote about his friend Rameau. Listeners of today are often more inclined to prefer his operas. However, there is a wealth of wit, wisdom and joy in Rameau's harpsichord works.

The legendary ten-show, August ’84 stand at Brendan Byrne Arena culminates in special performances with the Miami Horns and Stevie Van Zandt, particularly the pitch-perfect cover of Dobie Gray’s “Drift Away.” Stevie also duets on “Two Hearts”, while the Horns enliven “Tenth Avenue Freeze-Out,” “Detroit Medley” and “Twist and Shout - Do You Love Me?” With “Cover Me,” “Darlington County,” “I’m Goin’ Down,” “Spirit in the Night,” “Darkness” and more, 8/20/84 is Peak Born in the U.S.A. Tour.

Debut album from Grammy Award nominated French director, producer and designer Yoann Lemoine, AKA Woodkid. Includes the singles Iron , Run Boy Run and I Love You all of which have critically acclaimed videos. As well as his own work, Woodkid has directed videos for the likes of Lana Del Ray (Born to Run), Drake (Take Care) and Katy Perry (Teenage Dream)

Cookin' was the first album to be released of the famed extended recording sessions of the Miles Davis Quintet, wherein they taped the band's basic repertoire (and what a marvelous mixture of jazz originals and standards) in the manner of nightclub sets rather than the repetition of the usual studio takes. The album excited listeners not only with its contents but with its promise of more to come. Davis, Coltrane, Garland, Chambers and Philly Joe Jones; one of the classic groups in the history of jazz. It established a level of excellence that was to foster a long, successive line of outstanding Davis quintets and sextets through the 50s and 60s.

At this point in their respective careers, Kanye West and Jay-Z don't have anything else to prove. They're already iconic megastars of the highest order, with an endless array of classics that rekindle an interest in Annie and Ray Charles, blurring the lines between rap's underground affinities and pop music's robust stadium sound. They are full-fledged stunt men, focused more on preserving their own monetary interests than advancing the hip hop culture. Therefore, one shouldn't expect the second coming of Run-DMC on Watch the Throne, even if Otis Redding's and Curtis Mayfield's disembodied voices inject dashes of soul into the otherwise glossy project. These rappers have lots of money, lavish tastes and the world at their collective feet. They want you to rejoice and be glad in it.

A return to their roots, with additional retro flourishes. On their first release for eight years, following singer Sharleen Spiteri’s detour into solo work, Texas have gone back to basics, reconnecting with the solidly crafted simplicity of their earliest albums, Southside and Mother’s Heaven. And beyond the sturdy pop-rock of Spiteri and bassist Johnny McElhone’s melodies, an outside player makes a sizable impression on proceedings. Seven of the 12 tracks were recorded at Richard Hawley’s studio in Sheffield, his evocatively retro fingerprints especially evident on the lovelorn ballad I Will Always and the girl-group swagger of If This Isn’t Real. Bernard Butler also lends a hand, but the signature sound still revolves around Spiteri’s luscious voice, at its most alluring on the Blondie-like Hearts Are Made To Stray.

„The Rising“ won the 2003 Grammy Award for Best Rock Album. "The Rising" won the 2003 Grammy Awards for Best Rock Song and Best Male Rock Vocal Performance. The album was nominated for the 2003 Grammy Award for Album Of The Year and nominated for the 2003 Grammy Award for Song Of The Year. Considering that the last time Bruce Springsteen collaborated with the E-Street Band for a full album of new material was on 1984's epochal „Born In The USA“, it's entirely appropriate that their 2002 album „The Rising“ should be forged from images strongly linked to the events of September 11th, one of America's most trying times.

Silver/Lead is the 15th studio album from musical pioneers Wire. It arrives on the 40th anniversary of their debut performance. Yet it's about as far from nostalgia as you could get. This is the sound of a uniquely addictive 21st century psychedelic post-punk. Colin Newman and Matt Simms' guitar work is alternately jagged and luminous, while bassist Graham Lewis's ear-catching lyrics are vivid yet oblique. Meanwhile, drummer Robert Grey provides a virtual masterclass in percussive minimalism. But it's how the various instruments mesh together that really counts.

The pioneering classical percussionist Colin Currie launches his own record label with a recording of Steve Reich’s iconic Drumming, performed by the Colin Currie Group and released in March 2018. Colin Currie Records is a platform for the soloist’s diverse projects, celebrating the extraordinary developments for percussion music over the past century.

This first album of the Russian pianist, harpsichordist and organist Olga Pashchenko – student of Alexei Lubimov and Richard Egarr; prize winner of several international music competitions (‘Schloss Kremsegg’ for fortepiano in 2011; ‘Hans von Bulow' for piano in 2012…) depicts the rebellious and yet very tender metamorphosis between two ‘states’ of art – Classical and Romantic. Dussek, Beethoven, and Mendelssohn stand at the crossroads of the two styles; demonstrating how the transformation to Romanticism was subtle and hidden in the smallest details of the well-composed, transparent architecture of the music of the Classical period.

A taste for clarity of thought, sobriety and purity of form, sincerity, disdain for grandiose effects’: that was how Gabriel Fauré, the creator of a quintessentially French art, summed up his artistic and spiritual creed. In his output for piano, of which he was particularly fond, he followed the trail blazed by Chopin, fearlessly using the boldest strokes of harmony to colour his music with a highly individual charm.

Purcell's devotional songs for three male voices are still little known and shrouded in a certain mystery. Yet these meditations on the frailty of human existence are among his finest and most moving works. Gifted with profound intuition of the emotions that can emerge from the union of text and music, this formidable composer, who understood and served the vocal music of his time so well, continues here the work begun by the masters of the preceding generation such as Henry Lawes.