On August 29, 1987 Grateful Dead front man Jerry Garcia led both the Jerry Garcia Band and the Jerry Garcia Acoustic Band for performances at French's Camp On The Eel River in Piercy, California. Garcia would bring the JGB back to the scenic venue on June 10, 1989 and on August 10, 1991 - now get ready for the spectacular Electric on the Eel set showcasing the Jerry Garcia Band's electric sets from 8/29/1987, 6/10/1989, and 8/10/1991. The collection features several unreleased rarities including the seldom performed "See What Love Can Do", "Twilight", "Lazy Bones", and "I Hope It Won't Be This Way Always." Other rarities from the release include "Everybody Needs Somebody to Love", "Struggling Man", "Lay Down Sally" and "You Never Can Tell [C'est La Vie]".

Edward Elgar, the most prominent representative of the British Empire in music, completed his violin concerto, which was commissioned and premiered with great enthusiasm by Fritz Kreisler, in 1910. It is said that Elgar never spoke emotionally about his own music - with the striking exception of this one work, about which he uttered the words ,,I love it".

The Wajnberg Trio consists of renowned chamber musicians who every day engage in artistic activities in many fields – the pianist Piotr Salajczyk, the violinist Szymon Krzeszowiec and the cellist Arkadiusz Dobrowolski. They share a fascination with the life and work of the outstanding Polish composer, Mieczyslaw Wajnberg, and the passion for performing chamber music. The Wajnberg Trio made its debut in 2016 during the 20th edition of the Tansman Festival in Lódz, and its repertoire is primarily the works of 20th century Polish composers. This album - containing works by three Polish émigré composers - is the first in the ensemble’s output.

Imagine how the rhythmic emphasis of Scarlatti’s sonatas sounds on other instruments, beyond the harpsichord or other keyboards, can be a temptation difficult to overcome. It was difficult for us and it must have been, too, for those who had in their hands some of the hot manuscripts, fresh out of the oven, in the eighteenth century. Because, in this point, a new mystery emerges: what happened to all those acquaintances that Scarlatti had the opportunity to find in Rome or Venice? Did he keep in contact with other European composers, such as Thomas Roseingrave, once at the service of the court in Madrid? What happened to the bridges built with London? How is it possible that some of the sonatas that today are only preserved in the manuscript of Venice were known in England as early as 1744 (even before)?.

The award-winning Quatuor Capriccio presents an album inspired by its own name: Capriccio. There is a long tradition of capricious or whimsical virtuoso movements adding sparkle to the classical repertoire, and the earliest example featured on this collection forms part of Haydn’s Quartet No.2, Op.20. Mendelssohn’s Four Pieces for String Quartet are rounded off with a Capriccio of emotional depth, and the virtuosic tradition of Paganini’s Caprices is at the heart of a work by another virtuoso violinist-composer, Ysaÿe.

The young international Pacific Quartet Vienna has chosen as repertoire focus works of the First and Second Viennese Schools. Its second album (after Becoming Being Passing Away) presents Sounds from Pannonia, with Haydn 's String Quartet Op. 54/2, the second from the group of TostQuartets, Bartok s 2nd String Quartet (in which the composer used the impressions of his four-year research on Pannonian songs and dances during the First World War) and Brahmss Quartet Op. 51/2 (as can be observed in many of his works, no composer of musical history was so obsessively under the spell of the Pannonian idiom like Brahms) are representative of the music of the landscape between Vienna, Burgenland, Hungary, Slovenia, Croatia and parts of Slovakia.

Karol Rathaus (1895–1954), born on the eastern fringes of the Austro-Hungarian Empire, was one of the myriad Jewish composers who had to abandon a successful career in Europe, where he wrote for stage, screen and concert hall, and flee to the USA; there he earned his living in academia, working in obscurity. This first recording of his piano music reveals a powerful and individual voice, where echoes of his distant homeland color a musical language that is striking for its harmonic tension and rhythmic energy.

Renaissance polyphony is generally held to be stately, calm, reassuring. But this programme of Palestrina’s six-part Missa sine nomine, complemented by five of his motets and three by Marc'Antonio Ingegneri (c. 1535/36–92), was recorded after the Choir of Girton College, Cambridge, had undertaken a tour of Israel and Palestine. There the music and its texts (‘How can we sing the Lord’s song in a strange land?’) took on an extraordinary poignancy, with the dispossession and desperation of thousands of years ago animating the restrained dignity of Palestrina’s counterpoint with an unexpectedly topical intensity.

Towards the end of the 19th century, two great cosmopolitan cities developed with identical characteristics in opposite corners of the vast American continent. In these cities, two characteristically urban musical genres were born produced by the melting pot of European immigrants, creoles, African slaves and people native to the land. When jazz (which emerged from European salon music together with ragtime rhythms, blues and spirituals) arrived to New York, it met indigenous melodies, religious chants, Anglo-Celtic ballads and cowboy songs from the old west, all of which would sum up the essence of North American music.

The promise of rebirth and rejuvenation is celebrated by SOMM Recordings’ Songs of Renewal, a collection of choral works – including two first recordings – by seven living British composers performed by Bath Camerata under musical director Benjamin Goodson. Joining the ensemble are soprano Elizabeth Cragg and composer-pianist Huw Watkins, whose Shakespeare setting The Phoenix and the Turtle (2014) moves puissantly from monotone chanting to solemn chorale for an allegorical poem mourning the passing of ideal love.

Original Motion Picture Score from the movie Fantastic Beasts and Where to Find Them. Music composed by James Newton Howard. Fantastic Beasts and Where to Find Them is a 2016 fantasy action film directed by David Yates and written by J. K. Rowling (in her screenwriting debut), based on Rowling’s book of the same name. Aspin-off and a prequel of the Harry Potter film series, the film will be the first installment of a trilogy, and stars Eddie Redmayne, Katherine Waterston, Dan Fogler, Alison Sudol, Colin Farrell, Carmen Ejogo, Samantha Morton, Ezra Miller, Ron Perlman and Jon Voight.

Sony Music is delighted to announce the release of the soundtrack to ‘The Hunt’, a mighty BBC Earth documentary on the robust subject of predators and their prey, narrated by the great broadcaster and naturalist, Sir David Attenborough. The soundtrack is written by acclaimed British composer, Steven Price, known for his work on the score for Edgar Wright’s ‘The World’s End’ (2013) and Alfonso Cuarón’s ‘Gravity’, for which he won a coveted Academy Award for Best Original Score. He also worked as music editor with Howard Shore on Peter Jackson’s famous trilogy, ‘The Lord of the Rings’.

Original Motion Picture Soundtrack (OST) from the movie Isn’t It Romantic (2019). Film music composed by John Debney, who known for Madden NFL 18 Longshot: Homecoming, The Jungle Book, Ice Age: Collision Course. Isn’t It Romantic is a 2019 American romantic comedy film (Valentines Day 2019), written by Erin Cardillo, Dana Fox, Katie Silberman and Paula Pell, directed by Todd Strauss-Schulson. The film stars Rebel Wilson, Adam DeVine, Liam Hemsworth, Priyanka Chopra, Betty Gilpin.

This new release features Schumann violin sonatas played with period instruments, including an Anselmo Bellosio violin, ca. 1770 with Gut strings and an Erard piano, serial number 32602, built in 1862. Maalismaa and Holmström have worked as a duo since 2011. They are co-directors of both the Ristiveto Festival, which specializes in performing late 19th-century music on period instruments, and the Classical Hietsu concert series in Helsinki. Finnish violinist Eriikka Maalismaa plays in a variety of ensembles and collectives and visits frequently as leader of orchestras.

Jean-Michel Blais has become one of Canada’s most renowned pianists thanks to his fusion of neoclassical composition and electronic experimentation. But just as integral to his music is his use of natural, in-the-room sounds and surrounding street noise as subliminal textures. His 2016 breakthrough, Il, was recorded in his Montreal apartment, the ambiance of which could be felt throughout the recordings. Two years later, he was forced to move out, but before packing up his piano, he hosted the final installment of an annual apartment tradition—an (extremely) intimate performance for friends in his bedroom.