When discussing the inexhaustible and gone-too-soon genius of pianist Bill Evans, it's easy to get overwhelmed by the mass of music released both before and after his tragic death in 1980.

Legendary Brazilian singer Astrud Gilberto presents her 1977 album That Girl from Ipanema, featuring her signature song of the same name.

John Williams & Anne-Sophie Mutter reunite for World Premiere Recording of the composer‘s Violin Concerto No. 2 – written especially for Mutter. Alongside three film themes in special new arrangements by Williams. New Single and Video of “Rounds” (from the Concerto) out 11 March.

James Brown had the Apollo. Jimi Hendrix had Monterey Pop. And Prince had Syracuse, New York’s Carrier Dome—the Purple Rain Tour performance that was beamed to millions live via satellite and captured for posterity in the Grammy Award-nominated concert film Prince and The Revolution: Live, and has since gone down in history as one of the most iconic live recordings in pop and rock history.

BMOP/sound's latest release is Tod Machover: Death and the Powers, the MIT composer's "robot opera." Featuring baritone James Maddalena as Simon Powers, this opera explores the intersection of humans and technology, corporate superpowers and wealth inequality, and the nature of consciousness itself—what does it mean to be "alive"?

Reynolds [approaches] the traditional concerto pattern of a solo virtuoso interacting with an ensemble through the double-mirror-like effect of … two responding agents, the ensemble and computer – together, they enhance the mercurial sense of personality projected by the piece. In contrast to Personae, the purely acoustic Aspiration allows the ensemble to set the stage or scene on which the soloist enters. The result is more obviously orderly, linear, and lucid in comparison to the sumptuous density and multiplicity of Personae. Reynolds describes the solo work Kokoro as “a collection of extreme and alternative worlds within which aspects of a common ancestorship emerge in perilous and unpredictable succession.”

Diotima is a significant release for many reasons, two worth noting immediately: it's the fifth album dedicated to works by American composer John Harbison (b. 1938) the Boston Modern Orchestra Project (BMOP) and conductor Gil Rose have issued; more pertinently, of the three works presented, one is the first he wrote for orchestra and another, created thirty-five years later, is in all probability his last. Anything but an afterthought, the third pairs Dawn Upshaw with the BMOP, not the first time the celebrated soprano has given voice to Harbison's material.

John Corigliano is a difficult composer to pin down stylistically. The generally tonal orientation of his music and the cinematic quality that made his score for The Red Violin such a success have brought him a beloved status rare among contemporary composers. Yet, it would be wrong to call him neo-Romantic; his music has deep rigor and sometimes, as in the Symphony No. 2 on offer here, a quite grim quality.

Tom [ Scherman, of the Little Orchestra Society ] came to me and said, “Hey Kubik, I’m being pestered all the time by the pianist in my orchestra, Frank Glazer, for a solo appearance, and by Bob Nagel, my trumpet player, and the principal violist [ Theodore Israel ] .” And so Tom, figuring to kill three birds with one stone said, “Can’t you write me a piece for piano, viola, trumpet, and orchestra, and I’ll have my three players do the solo parts and they’ll get off of my back?” I said, “Sure.” And since it came within a month or so after I’d finished recording the score to the film C-Man, which had exactly those three solo instruments, I just re-wrote it as the Symphony Concertante. Don’t do that thinking that you’re going to save time. It’s twice as hard, it’s ten times as hard, than to just write a new piece.

Gil Rose has a special knack for finding music that has somehow slipped through the cracks. Here, he gives us three ballet scores composed for Martha Graham and her company by Carlos Surinach (1915 97). Born in Barcelona and trained in Germany (including seminars with Richard Strauss), Surinach settled in 1950 in the United States, where his flamenco-inflected style appealed to leading choreographers.

Artifacts began humbly as a means of compiling a few early Beirut EPs for a proper physical release. However, as Zach Condon explains in album’s excellent liner notes, reconnecting with old recordings through fresh ears turned a simple re-issue project into something much more expansive. “When the decision came to re-release this collection, I found myself digging through hard drives looking for something extra to add to the compilation.

Born in 1982, Joonas Haavisto is a Finnish pianist and composer who is recognized as one of the most exciting young musicians on the Nordic jazz scene. The winner of several international awards, he has performed widely around Europe, North America and Japan with his groups.

Driven by a desire to convey stories, we create concerts and performances that leave lasting emotional traces in the audience. We collaborate with composers, writers, directors, and soloists to find new perspectives in our sonic narratives. Together we make productions that concern the people of today. We are delighted to present a new recording of Gérard Grisey's rarely performed early work Mégalithes from 1969 for 15 brass players.

Produced by Wilco’s Jeff Tweedy, Alpenglow is the Minnesota-based sextet’s tenth album. The album, named after the optical phenomenon that takes places when the sun casts a reddish glow across the mountains at dawn and dusk, opens with the wistful beauty of “It’s So Hard To Hold On”. The narrator contemplates the passing of time and how imperative it is to savor it while you have it.

Satoshi Shoji, who plays various instruments such as the oboe and is active in various fields from classical music to pop music, and Junko Wada, who continues to play an active role as an organist in various fields, have a musical dialogue. The mellow English horn, the lively and graceful bass oboe, and the soft, rich baroque organ play the masterpieces of Telemann and Bach.