Picture book was held in the summer of 2015 in Mannheim, where met the five music students at the local university. Characterized by similar influences and a convergent sound vision, the four young musicians quickly developed a homogenous band sound.

Suspiria consists of 25 original compositions written by Thom specifically for Luca Guadagnino reimagining of the 1977 Dario Argento horror classic. The album is a mix of instrumental score work, interstitial pieces and interludes, and more traditional song structures featuring Thom’s vocals such as “Unmade”, “Has Ended” and “Suspirium,” the album's first single featuring the melodic theme that recurs throughout the film and its score.

From the moment they met, it was clear that Dead & Company and Boulder, Colorado were going to get along just fine. This should come as no surprise, as the Grateful Dead had a long and happy relationship with the Rocky Mountain state from their very first gigs at the Denver annex to San Francisco’s Family Dog in the Fall of 1967. And Boulder itself is about as freak-friendly a place as you’ll find anywhere. The arrival of tens of thousands of Dead Heads in the college town felt like not so much an influx of outsiders as just a temporary expansion of the local population. Dead & Company’s first two-day engagement at Folsom Field over the 4th of July weekend of 2016 was such a popular, artistic and social success that no less a pillar of the community than Bill Walton declared it absolutely imperative that return visits by the band should become annual events. No one had any argument whatsoever with that mandate, and so a tradition was born, with Folsom on the schedule for each summer tour thus far.

"The planets themselves were in alignment, and all was right with the world last night in Camden. Throughout the epic, nearly four-hour experience, the entire amphitheater was buzzing… a band that pays all the respect in the world to the history and legacy of The Grateful Dead while still barreling forward, eyes wide open, into the future.." (Asbury Park Press)

Girolamo Frescobaldi is one of the most extraordinary figures in the history of music for harpsichord and organ, and had an enormous influence on other composers up until Bach. His brilliant toccatas reveal an inner world that fascinates today's listener. Frescobaldi's inspiration was born at the court of Ferrara and reached maturity in Rome, where the composer found himself among the major artists of the time who were actively creating a new artistic language.

The Fantaisie sur la Tempête de Shakespeare was composed shortly after Berlioz had won the coveted Prix de Rome (at the fourth attempt) with his cantata Sardanapale, and was originally conceived as a concert overture, with chorus. After various re-workings of the material, the four-movement Fantaisie, as recorded here, became the finale of Berlioz’s ‘monodrama’ Lélio – a juxtaposition of existing material interlinked with dramatic monologues recited by the ‘artist’ at the centre of the work.

On his new solo album, Russian star pianist Denis Kozhukhin presents a personal and colourful collection of character pieces taken from Mendelssohn’s Lieder ohne Worte and Edvard Grieg’s Lyric Pieces. Combing these miniature gems by two outstanding poets of music, Kozhukhin provides a shining example of how disarmingly touching and penetrating a simple song or a vision of nature captured in sound can be.

A voyage across a century of solo cello repertoire from Europe and America.

Jeanne d'Arc au bûcher is one of the most inventive oratorios ever composed, constantly flitting between styles and colours. It follows the historic French heroine in the hours leading up to her execution. Indeed, the run-up to her death sentence is reconstructed as if in a crime novel. Paul Claudel's lively libretto contrasts Jeanne with an assorted lot of strange and wonderful characters. More than enough reason for Honegger to open up a colourful paintbox: the work features a succession of choral passages infused with spirituality, cubist-like blocks of sound and even bits of material reminiscent of the music hall.

“Humphrey’s utter absorption and delight shines forth at every turn… strong toned, easy fluidity and immaculate technique” - Gramophone

Let there be light! To open the new concert season, the Tonkunstler Orchestra and their Music Director Yutaka Sado are joined by the RIAS Chamber Choir and three excellent vocal soloists to tackle nothing less than «The Creation» itself. Premiered in 1798 in the Stadtpalais Schwarzenberg, which then stood on the Neue Markt square in Vienna, this German-language oratorio by Joseph Haydn takes the Book of Genesis as its subject matter. In the solo parts, archangels describe and comment on the six days of the Creation, with Adam and Eve also having their say. Meanwhile, the orchestra makes a painting in sound of the primordial chaos, the first sunrise and the appearance of creatures on earth.

This new recording from Christoph König and Soloists Européens Luxembourg features Dvorak's evergreen ''New World'' symphony alongside Charles Ives's Washington's Birthday and Aaron Copland's Quiet City. In the 19th and 20th centuries, for those leaving the Old World - meaning in most cases Europe - America represented the hope of starting a new life unshackled from the past and its politics. America was, for many, a land of dreams. It is this reflective and dreamy quality which unites these three different compositions, each one describing in its own way the land once known as the New World.

Colorfully scored premiere recordings of eighteenth-century chamber music by a little-known contemporary of Handel.

Following the release last year of works by Holzer, Antegnati and Pellegrini, the renowned organist Federico Del Sordo further delves into the world of Renaissance and early Baroque keyboard repertoire. In this set, he turns his attention to Italian composer Aurelio Bonelli.

Born in 1971, Marco lo Muscio is an organist, pianist and composer who has performed on the great organs of Europe and the US. His own music been performed by the likes of Christopher Herrick, Thomas Trotter and David Briggs. This album focuses on another, more intimate side of his output. There are pieces dedicated to his mother and to the memory of his late father; tributes to both Debussy and Satie; meditations on literary themes from the work of J.R.R. Tolkien in a neo-medieval style; a pair of ricercari originally composed for organ, paying homage to Renaissance-era counterpoint; and to begin with Three American Preludes.