Eugène Bozza was a 20th-century successor to Giulio Briccialdi, the Italian flautist who is celebrated in 2018, the 200th anniversary of his birth.

For the final volume in his complete recording of Fauré's piano works, Jean-Claude Pennetier immerses us in the fascinating world of the late nocturnes and barcarolles. The desolate songs of a man who could barely hear any more, dreams of a chimeric horizon: the Fauré of the last years is a traveller in search of unprecedented experiences.

Few works in the entire literature of orchestral music can match Scheherazade for brilliance, appeal or vividness of instrumental coloring. But then, few composers have possessed the wizardry to orchestrate music as did Rimsky-Korsakov. And until now, it has been difficult to reproduce the full spectrum of the composer’s palette on records. Thanks to Everest’s advanced recording techniques on 35 mm magnetic film, every subtle oriental shading, every overtone of this sumptuous symphonic suite can be enjoyed with startling realism in the home. …

Since we were on the subject of Everest and Sir Eugene Goosens, I wanted to bring another early Everest recording to your attention. This was Everest's forth release from 1958, and like it's Corroborree by the same forces, it is a sonic spectacular. In fact the engineers were so pleased with the awesome dynamic range captured on the tape, that a highly unusual decision was made. Rather than limit the dynamics, as they would have to be compressed to fit on a single disc, it was decided to spread the work over three sides, allowing the earth shatteing dynamic range that was present on the master tape to be fully realized on disc. The Rachmaninoff "Symphonic Dances" was selected for Side Four, filling out this two record set. Recommended!

Orfèvre de l’orchestration, passionné par la dramaturgie en musique, Fidel Fourneyron a su se constituer peu à peu un style singulier et immédiatement reconnaissable, évoluant dans un univers résolument post-jazz et ouvert sur les musiques d’aujourd’hui.

Keyboards and percussions.
Besides his constant dedication for acoustic sound with his Trio and the Medium Ensemble, Pierre de Bethmann had the idea of a larger type of 4tet.

Not much is known of the life of Giacomo Gorzanis, born around 1520, and died in 1579; he was almost certainly blind, probably from birth, judging from the note written in his Third Book for lute published in Venice in 1564 ("I, blind" and "I, deprived of light"); he was probably a very famous lutist, going by the note on his First Book of lute in 1562 lauding his"long experience over many years with the lute", and he probably also sang at the court of Archduke Charles II of Austria, if the note in his Second Book of Neapolitan songs of 1571 is to be believed: "the memory I retain, as your humble servant, and the true affection I bear for you."

The Austrian bassist Günther Groissböck calls his new album project a "kind of artistic creed". The album is a very personal selection of four song cycles by Brahms, Wagner, Wolf and Mahler, including the "Wesendonck Lieder" sung for the first time by a bass voice, summarized under the drastically striking title Herz-Tod, which at first reminds one of the cause of death rather than of highly romantic music. The four song cycles unite the thematic brackets of love, death, transience and fragility, both in the real and in the emotional sense.

Mysterien-Kantaten selects sacred cantatas by Buxtehude, Bruhns and Bernhard from the treasure trove of seventeenth-century Germany. A profound programme in which the mellow timbres of Les Surprises provide a delicate accompaniment for the voices of Maïlys de Villoutreys and Étienne Bazola.