Although Crosby, Stills & Nash had, in effect, been together for well over a decade when Daylight Again (1982) was issued, it was only their third studio long-player of concurrently new material.

What’s so instantly striking about Crosby, Stills and Nash’s CSN, their second group album in eight years, is that it sounds so much like the debut LP even though its makers are so vastly changed.

Crosby, Stills, Nash & Young had come out of Woodstock as the hottest new music act on the planet, and followed it up with Deja Vu, recorded across almost six months in the second half of 1969 and released in March of 1970, supported by a tour in the summer of that year.

One of the most hotly awaited second albums in history – right up there with those by the Beatles and the Band – Déjà Vu lived up to its expectations and rose to number one on the charts.

Essential: a masterpiece of country rock music
The Crosby, Stills & Nash triumvirate shot to immediate superstardom with the release of its self-titled debut LP, a sparkling set immortalizing the group’s amazingly close, high harmonies.

Renaissance music from Spain has come to mean the works of composers such as Tomás Luís de Victoria or Francisco Guerrero rather than their predecessors. But composers such as Francisco de Peñalosa – who died in 1528, the same year that Guerrero was born – were musicians of genuine imagination and skill, whose work often shows a formidable individuality.

In 1971, Einojuhani Rautavaara was asked to compose a Finnish Orthodox church service, an all-night vigil similar to that of Rachmaninov, comprising Vespers as well as Matins. Soon after the first performance he reshaped the music into what we now know as Vigilia, a concert version forming a musical whole. As his inspiration, Rautavaara has himself described a visit to the Valamo monastery in the middle of Lake Ladoga in 1939: ‘The bells began to ring, low-pitched booms and higher, shrill clinks: the world was filled with sounds and colors…’

With her version of Vivaldi’s Four Seasons, Leila Schayegh continues her exploration of the violin repertory, always combining musical insight, virtuosic brilliance and historical understanding. Over the last years, the Swiss musician and professor in the Schola Cantorum Basiliensis has become one of the leading violinists of her generation. On this dazzling new exhibition, Schayegh –who plays a late-17th-century Andrea Guarneri instrument– is joined by the fine and colourful ensemble Musica Fiorita, directed by Daniela Dolci. The opera composer Vivaldi is omnipresent in all of the four concertos, also thanks to the use of elements of Baroque theatre: the sounds of wind machines or bird whistles contribute to making this a delightful, fascinating and “different” version of one of the most recorded works of all times.

Modest Mussorgsky’s Boris Godunov stands out among the major works of the opera repertoire in having an extremely complex creative history. The original libretto, by the composer himself, was based closely on Pushkin’s Shakespeare-inspired drama about the ill-fated Russian ruler. Mussorgsky completed the score in 1869, and submitted it to the committees of the Imperial Theatres.

Several of Kaija Saariaho’s works are named after natural phenomena that serve as a starting point to her compositional process. Composed in 1998, Neiges was inspired by various qualities of snow and explores instrumental languages and colors similar to those found in her earlier works. On the present album the piece is heard in its never-before recorded version for twelve cellos, performed by the cellists of the Oslo Philharmonic.

Hybrid SACD pressing. Reissue. 2007 release from the jazz/pop vocalist. The album features songs from the 1940's standard "Over The Rainbow" to 1990's hit love song "When You Say Nothing At All" and also includes covers of songs from Van Morrison, Buddy Holly and Burt Bacharach. Susan says "When choosing the repertoire for this album I have stepped away from my usual choice of songs as I wanted to try a more daring selection, covering a wider spectrum of the music that I enjoy."

After Riccardo Chailly started the RCO’s celebrated association with the Dutch National Opera with masterpieces by Verdi and Puccini, Mariss Jansons continued with unforgettable Tchaikovsky and Shostakovich productions. With brilliant performances of Verdi’s Falstaff, Daniele Gatti (then not yet as chief conductor) started a new chapter of this collaboration. Their spectacular 2017 production of Richard Strauss’ Salome is another highlight in the already impressive list.

"A Night At The Movies" is Susan Wong is newest album that the selection of songs and her performance are all nicely arranged, including songs like 'Sometimes When We Touch', 'Smile', 'As Time Goes By', and 'Memory' etc. This album is great for all her fans.

This complete edition of the symphonic works of Edvard Grieg is especially convincing thanks to the authentic approach of the Norwegian Eivind Aadland, who strongly influences the interpretations of the WDR Symphony Orchestra Cologne under his direction. The first LP of this series presents two of Grieg's principal collections on 180g vinyl: his first Peer Gynt suite from the incidental music to Henrik Ibsen's drama Peer Gynt, the story of the "Nordic Faust" which inspired Grieg to compose a sonic panorama of the Norwegian character - from the melancholy song Death of Åses to the furious chase in the Hall of the Mountain King - as well as his four Symphonic Dances Op. 64 of 1898, where the composer draws on his experiences as a conductor of the leading European orchestras.

Susan Wong was born in Hong Kong and immigrated to Sydney, Australia with her family at the age of seven. Musically inclined from a young age, she learned to play the piano at age five and later she also learned the violin. At Kambala in Sydney, she sang alto in the choir and appeared in the school dramas (Gilbert & Sullivan & the like) and entered a number of piano competitions. She received an associate diploma (ATCL) in piano from Trinity College London.