To most concertgoers, the composer, clarinetist and pedagogue Carl Baermann (1811-1885) is certainly not very well known. To every clarinetist, however, he is an absolute ‘must’. As an internationally renowned clarinet virtuoso of the 19th century, Baermann created a benchmark with his famous method for clarinet, still indispensible today because of its musical quality.

David Goode continues his new series of the complete organ works of Johann Sebastian Bach, played on the Metzler Söhne organ of Trinity College Chapel, Cambridge. This ninth volume includes the Fantasia and Fugue, BWV 537 as well as the “Trio after Telemann”, BWV 586. David Goode is Organist at Eton College, combining this post with a flourishing performing career.

Pianist, composer and videomaker, Massimiliano Pace was born in Rome in 1961. In 1983 he graduated from the Conservatory of Santa Cecilia in Rome. He specialized in incidental music and has scored more than one hundred plays in Italy and abroad, working with directors like Roberta Torre, G.Ferro, G. Dipasquale, G. Sepe, S. Sequi, R. Reim, N. Mangano and others. He has published chamber music and lieder with Berben Publishing House (Cinque Lieder Neomanieristici for soprano and piano, Tre Lieder Modali for soprano and piano, Onde for piano duo, Sonata Prima for piano, Sonata Seconda for piano, Fantasia prima for guitar). …

Unter dem Gedanken »Zeit und Ewigkeit« präsentieren die Audi Jugendchorakademie und Perkussionist Simone Rubino ein Programm aus zeitgenössischen Werken, das große Gegensätze vereinigt. Das Schlagwerk steht für den Rhythmus, ein Sinnbild für den organisierten Zeitablauf in Korrelation mit der Vergänglichkeit. Der Chor steht dem Gegenüber – er verkörpert in vielen Stücken eine Zeitlosigkeit, die mit schwebenden Klängen den Raum erkundet.

Springsteen reconvened the E-Street Band for 11 new songs on Magic, noting that the album’s title refers to the “times when what’s true can be made to seem like a lie, and what’s a lie can be made to seem true.” Magic debuted at #1 on the Billboard album chart, and singles “Radio Nowhere” and “Girls in their Summer Clothes” each won Grammys for Best Rock Song.

Vintage symphony “Die Fledermaus” (The Bat), conducted by the charismatic conductor Carlos Kleiber, who continues to fascinate audiences even today.

Behind Blindfolded Eyes: Don't let the title of this album fool you. Space Jazz is not about moon landings, worm holes and distant planets. Rather, Inwardness are leading listeners into the spaces between the notes, setting course for equally familiar and alien microcosms. In fact, only a single item is of truly cosmic dimensions here: The band's long and winding history, which leads across two contents towards a happy ending.

“Operation Finale” is an upcoming American historical drama film directed by Chris Weitz and written by Matthew Orton. The film stars Oscar Isaac as Peter Malkin and Ben Kingsley as Adolf Eichmann, with Lior Raz, Mélanie Laurent, Nick Kroll, and Joe Alwyn in supporting roles. The plot follows the story of the Jewish Nazi hunters sent out to find and capture former SS officer Adolf Eichmann in 1960. Alexandre Desplat wrote the score.

William Ross has recently composed the music for the upcoming romantic comedy Destination Wedding. The film is written and directed by Vicor Levin (5 to 7, Survivor’s Remorse) and stars Winona Ryder and Keanu Reeves. The movie revolves around two miserable and unpleasant wedding guests who develop a mutual affection in spite of themselves. Gail Lyon (Stick It), Elizabeth Dell and Robert Jones (The Strangers: Prey at Night, Centurion) are producing the project. Destination Wedding will be released in theaters nationwide on August 24, 2018 by Aviron Pictures.

Soundtrack album for the sci-fi family adventure A.X.L. The album features the film’s original music composed by Ian Hultquist (Assassination Nation, The Gospel According to Andre, Animals, Ivory Tower, My Blind Brother).

A saxophonist, vocalist, and producer from Philadelphia by way of Perkasie, PA, Max Swan channels influence from the likes of Stevie Wonder, James Blake, Donny Hathaway, Michael Brecker, and Lenny Pickett. He's gone from nothing-but-jazz, to everything-other-than-jazz, and all stops in between. Initially being the loud alto player that showed up for the jam session every week, Max slowly took on more opportunities in hip hop production, as both a bandleader and producer, playing with a number of artists and groups in the Philly area. Over time, the saxophone he'd lay on tracks led to supplementing keyboards, and writing string and horn section arrangements.

The most intriguing thing about Juxtaposition, Vinnie Sperrazza's recently released recording, is its loose grip on the jazz tradition. The disc's twelve tracks don't come with a set of standard, recognizable references. Not unlike many of today's leading young artists, Sperrazza has absorbed the lessons of the music's past, and is currently interested in doing things on his own terms instead of dwelling in the accomplishments of his elders. The other essential aspect of the record is it's overall disposition the antithesis of the dense, loud, unyielding ethos that's increasingly common across the spectrum of jazz and improvised music. Sperrazza, the composer of nine of the tracks, pens refined, distinctive themes that sometimes hint of something left unsaid. A band consisting Sperrazza's drums, tenor saxophonist Chris Speed, pianist Bruce Barth, and bassist Peter Brendler produce an enclosed sound that often feels like a collection of interiors. (While listening to most of the tracks I frequently wondered if the music could survive the noisy distractions common to many live performance spaces.)

Hot-tipped trio Hieronymo have made it far recently, all the way from outer space. Expect to hear psychedelic rock that knows how to hold down a hypnotic groove, punctuated by haunting vocal harmonies, lush guitars and the odd synth. Now sure, there’s a humble head-wobble towards the 1970s – Thanks 1970s! Thanks Krautrock and Afrobeat!! But this thumping sound builds a bold new world of its own.

Hypochondriac, the third full-length album from San Diego band The Frights, is an album full of addictively catchy songs about fear and frustration. “Hypochondriac is the most comfortable I’ve been with a record thus far,” says Mikey Carnevale, vocalist/guitarist for The Frights. “I care a lot about these songs because they’re embarrassing and personal.” Produced by FIDLAR frontman Zac Carper (SWMRS, Dune Rats), mixed by Rob Kinelski (Ed Sheeran, Billie Eilish, 30 Seconds To Mars) and mastered by multiple Grammy Winner Greg Calbi (Arcade Fire, Tame Impala, The War on Drugs); Hypochondriac follows The Frights’ 2016 album You Are Going To Hate This and marks a period of major creative growth for the band (whose lineup also includes bassist Richard Dotson, drummer Marc Finn, and guitarist Jordan Clark).

Recorded in 2000 and not available in the United States until 2004, Metamorphoses is another of those enormous productions by the French electronic music master. Offering a cycle of songs, Jarre and his platoon of keyboards – a wonderful meld of cutting-edge and vintage technologies – delve into the notion of change and evolution with a remarkable efficiency despite the plethora of guest vocalists and instrumentalists. His collaborations with Laurie Anderson ("Je me souviens") and Natacha Atlas ("C'est la Vie") are wonderfully successful. The former is a staggered sequencer-driven track whose pulse varies, throbs, and wanes as the vocals are articulated in syncopated fashion in alternating cadences.