Three guitars, three voices, that’s the 18th edition of Ruf’s Blues Caravan which will take off in mid-February 2023. Thus carrying on a tradition which was established in 2005 when Thomas Ruf, founder of internationally operating German record company Ruf Records, came up with the idea for this kind of package tour and with Sue Foley, Candye Kane and Ana Popovic sent three of his artists on the road together for the first time. This time the line-up will consist of Texan bluesrocker Ally Venable, Chicago-born Berlin resident Will Jacobs and Ashley Sherlock from Manchester in the UK.

From the mid-seventeenth century to the first two decades of the eighteenth century, Rome experienced one of the most brilliant musical periods in its history. In this recording, the Ensemble Jacques Moderne works composed for a Vespers service, one of the principal moments of the Liturgy of the Hours, which consisted of a sequence of psalms and antiphons concluding with a Magnificat.

Off the Grid is a journey that joins the origin story of dance rhythms from Africa to electronic dance music of today's clubs and festivals, connecting African folklore and storytelling to rap, jazz and hip hop.

1611. After two years of study with Gabrieli in Venice, Heinrich Schütz tried his hand at composing madrigals on Italian poems. This mere ‘graduation exercise’ turned out to be a masterpiece: the young German composer demonstrated his ability to identify each nuance of the text with a different musical emotion, a refinement heightened here by the interpretation of Les Arts Florissants.

The Trio Metral, in its new line- up of Victor Metral (piano), Nathan Mierdl (violin) and Laure- Hélène Michel (cello) – three born chamber musicians – offers us a passionate and exciting reading of two masterpieces of the French repertory.

Less a homage than an interpretation, less a rereading than a resurrection, Deadjazz gives new life to the music of the Grateful Dead, the legendary group of the psychedelic era. Drawing inspiration from a cult repertoire, played by musicians who have had an unwavering bond with the Belmondo brothers for decades, this collective project is an immersion in a crucial moment in the history of music: when jazz became electric to the rhythms of rock and rock freed itself from the constraints of the song format through improvisation.

Le Printemps dans l'âme reflects the spirit of a beautiful artistic and human encounter. This exciting programme mirrors our duo : voluble, emphatic and sometimes festive, it is also made up of moments of thinking, dreaming, like ‘breaks’ into a whirl of playful virtuosity.

Diamond Dogs is the eighth studio album by English musician David Bowie, released on 24 May 1974 by RCA Records.

Carmen Mercedes McRae (April 8, 1920 – November 10, 1994) was an American jazz singer.

A year after Beethoven’s death in 1827, a historic concert series began in Paris featuring all of his symphonies, including the local premiere of Symphony No. 3 (the “Eroica”) at the first concert and of No.9 at the last.

Time and again, composers – well-known and lesser-known – have arranged Franz Schubert's piano songs for orchestra. These versions are not in any way intended to cast doubt upon the powerful quality of the originals, they merely place them in a different light, and/or attempt to make them easier to perform on a larger scale – when an art song cannot be performed in an intimate salon or chamber music hall, it can also make an impact in a large concert hall. Baritone Benjamin Appl has compiled nineteen such arrangements from the 19th and 20th centuries for this new CD from BR-KLASSIK. The Münchner Rundfunkorchester, conducted by Oscar Jockel, provides accompaniment that is subtle and in keeping with the work.

The Berlin Philharmonic joined singers, Mirella Freni, Christa Ludwig, Carlo Cossutta, and Nicolai Ghiaurov to perform Verdi's Messa da Requiem.

At just twenty-five years old, Théo Ould sees musical expression as a total art form, and explores all the possibilities of his instrument, the accordion, which he champions with great pride: ‘When I entered the conservatoire and held the instrument in my hands, I was fascinated by the sound as much as the object itself, halfway between a typewriter and an extra-terrestrial contraption: a “playing machine” in every sense of the word… I also discovered what its sound was like and what you could do with it. I learnt what stops that sound from expanding and how to use my whole body as a soundbox.’

Emerging from the pandemic like a bubble of oxygen from the ocean depths, this recording project is built around two ideas that lie at the heart of the Chapelle Musicale Reine Elisabeth. On one hand it perfectly embodies the ideal of a continuing relationship between masters and artists in residence by bringing together three generations of musicians with Miguel da Silva, Lorenzo Gatto and the young artists currently in residence at the Chapel, providing an opportunity for the former to pass on their mastery and knowledge to the latter.

By 1985, Kiss were a shadow of their former selves. Gone was the raw rock of their not so distant past, as well as their memorable "heavy Beatles" songwriting. In its place was a sound that was too similar to other pop-metal bands at the time, as well as unimaginative, predictable songs, as evidenced on Asylum.