For the 400th birthday of Johann Rosenmüller, the soloists’ ensemble Gli Scarlattisti under the direction of Jochen Arnold presents a selection from the collection of so-called “Kernsprüche.” These sacred concertos, most of which are unknown today, are characterized by a particularly charming versatility in the interplay of the various vocal and instrumental parts. In their day, they were similarly considered to be as stylistically influential as Schütz’s Kleine Geistliche Konzerte. How good it is that the musicians, with their numerous first recordings, have rescued this collection from oblivion.

In 1753, Farinelli sent a precious manuscript from Madrid to the Empress Maria Theresa in Vienna it contained some of the arias he usually sung during private evening concerts for the King of Spain. Among them were the celebrated Son qual nave and Quell usignolo, for which he wrote by hand his own original da capos and cadenzas. This incredible source, offering a very unique and peculiar insight into the artistry of the famous castrato, is recorded here integrally, after a painstaking scholarly work on all the performance-related topics. The star mezzo-soprano Ann Hallenberg delivers the breathtaking original embellishments created by Farinelli with astonishing ease, making this survey through pieces written by Giacomelli, Conforto or Farinelli himself a truly delightful experience. Stile Galante and conductor/musicologist Stefano Aresi bring their usual savoir-faire and elegance to this carefully crafted project.

Carl Philipp Emanuel tells us of his father’s talent as a singer: ‘He had a good penetrating voice of wide range and good singing style.’ It is therefore not surprising that the three church cantatas for solo bass are among his most exquisite and personal vocal works. Singing voice and instruments enter into a special relationship in these pieces. The dense yet sensitive polyphony is filled with a warmth and tenderness that seems to bring us closer to Bach, who is otherwise so ‘hermetically closed’. The ‘I’ voice in the poems of cantatas BWV 56 and 82 becomes the composer’s voice. Bach’s solo cantatas are precious gems whose subtle beauties go straight to the listener’s heart.

German Brass, the most renowned and award-winning classical brass ensemble in Europe, takes the audience on a musical trip to America and presents works of composers from America such as Leonard Bernstein (Candide Overture), George Gershwin (Porgy and Bess), Aaron Copland ("Hoe-Down"), Samuel Barber (Adagio for Strings) and Cole Porter (Kiss Me, Kate) - newly arranged by and for the members of the ensemble. This mix of classical music and jazz fits perfectly to the sound, which defines German Brass. On it's new album the ensemble virtuously performs the most beautiful pieces from Gershwin's opera Porgy and Bess to the world-famous Adagio for Strings by Barber. German Brass creates the most laid-back and swinging sound as you have never heard from them before.

Mit dem Mozart-Programm „Mozart – Zero to Hero“ geht die von Publikum und Presse hoch gelobte künstlerische Zusammenarbeit zwischen dem renommierten Tenor-Poeten Daniel Behle und dem mit dem ECHO Klassik ausgezeichnete L'Orfeo Barockorchester und seiner hochgelobten Dirigentin Michi Gaigg in die zweite Runde. Im Fokus stehen die bekanntesten Tenor-Arien Mozarts aus „Die Zauberflöte“, „Don Giovanni“, „Die Entführung aus dem Serail“, „Così fan tutte“ und weiteren Opern.

Long May You Run is not a Neil Young solo album. It is credited to "The Stills-Young Band," which is to say, Stephen Stills and his band with Young added, and the two divide up the songwriting and lead vocals, five for Young, four for Stills.

Unquestionably Stephen Stills is one of the prolific creator of the legendary country-rock quartet C, S, N & Y.

Recorded Live March 8 & 9, 1974 At The Auditorium Theatre In Chicago.

Flushed with the success of his first solo effort and the continuing adulation from his role in the supergroup CSNY, Stephen Stills must have felt like he could do no wrong, and in many instances, his second solo disc proves him right.

Talk about understatement – there's Stephen Stills on the cover, acoustic guitar in hand, promising a personal singer/songwriter-type statement.

Amaya Fernández Pozuelo writes of her new release: In front of a score, the performer - as in a play of shadows - is always and unfailingly faced with difficult interpretative choices between appearance, reality and imagination. Domenico Scarlattis language in its simplicity and immediacy goes beyond the direct meaning of notation. What should be read according to convention for other authors, in Scarlattis pieces a potential changeable meaning is to be sought, never exactly the same. Everything becomes more understandable if one thinks of Scarlatti as a composer who performed his sonata before noting it on paper.

Peter Mattei has won great acclaim as a singer with unusual dramatic gifts, appearing on the world’s leading stages in complex operatic roles such as Don Giovanni, Billy Budd and Eugene Onegin. On the present release he takes on a no less complex character in the Lieder canon: the traveller in Schubert’s Winterreise. In this cycle, Schubert returned to the poet Wilhelm Müller, whose poems he had set some years earlier, in his other great song cycle, Die schöne Müllerin. Müller’s texts revolve around a young man who after being rejected leaves his village and heads into the desolate, snowy countryside.

The jazz organ trio genre is taken to new heights with Lemongrass Lady – the new release by Jazz Organix on Tableau Records. Immediately catchy tunes and superb guest artist performances make this album one you’ll want to listen to over and over. This is old-school cooking jazz with modern sensibilities!