Before the First World War rendered all things German anathema, Schumann’s a cappella works, like Mendelssohn’s and Brahms’s, were choral society staples. Today they are probably the most neglected area of his entire output. Not all these settings are free from Lederhosen heartiness – the side of Schumann that wears least well – or Biedermeier blandness. But the range and depth of the best of them, above all the magnificent works for double choir, Op 141, may come as a revelation. Highlights elsewhere include a mixed-choir version of ‘Heidenröslein’ – without Schubert’s piquancy but full of sentimental charm – the tender, touching setting of Burns’s ‘John Anderson’ and the chromatically lush ‘Die Lotosblume’ for men’s chorus, just as sensitive in its response to Heine’s verses as the famous solo song in Myrthen.

Vivaldi’s music-historical importance is indisputable. With the exception of Telemann, no other composer until Mozart produced so much cham­ber music of such a superlative quality. Just like Ludwig van Beethoven, he was an inexhaustible source of inspiration for every composer who followed him. He provided models for instrumental music and he refined the idiom and the technical possibilities of virtually every instru­ment for which he wrote. His concertos for recorder RV 441 and 445 are excellent illustrations of this.

Many of Ysaÿe’s works exist only in manuscript or were not published for many years. This CD presents some premieres from the collection of his compositions in the Royal Library of Brussels. All the members of the Kryptos Quartet are graduates of the Royal Conservatory of Brussels and are united by their passion for chamber music.

Marguerite of Austria (1480-1530) experienced a series of personal tragedies during the first three decades of her life. Despite her misfortunes, she has skillfully ruled The Netherlands for her nephew, Charles V. She is also remembered for her patronage over the arts.

The collection Di Manoli Blessi il primo libro delle Greghesche is the work of the well-known poet Antonio Molino (pseudonym Manoli Blessi). He wrote in a made-up language, a mixture of Venetian dialect and elements of Greek that was given the name of ‘greghesca’. The volume contains music set for four to eight parts. Most of the composers whose works are found there belonged to the highest level of Venetian musical life at that time and were requested by Molino to set his texts to music. Their greghesche first refer to simpler and more popular genres with their chordal and homophonic style and repetitive structures, and then go on to adopt the refined style of the contemporary Italian madrigal.

Arthur De Greef, a piano virtuoso and composer, obtained his excellent results through analysis, reflection and hard work. Amidst all the musical turmoil at the start of the 20th century, De Greef is still composing late-Romantic, graceful and splendidly melodic music. Courage and authenticity was necessary for that. Thematically and harmonically the second pianoconcerto follows the classic form, but it also leans in the direction of the symphonic poem. De Greef clearly intended to express and develop particular emotions in this piece. This can also be seen in the poetic titles given to each movement. In De Greef's Humoresque, the accented rhythms and the repeated leaping motive are the most striking features. The motive springs between the strings to the flute and is followed by a martial theme on the horns. The lyrical middle section is an oasis of peace, with an expressive melody, fine solo passages and muted strings.

B’Rock appears here for the first time as an extra small ensemble, hence the XS! Their previous releases have been very well received and here they concentrate on rarely recorded repertoire for violin and basso continuo from 17th century Amsterdam.

Vivaldi was attracted to the cello for its expressive capabilities, which are showcased perfectly on Ensemble Explorations's debut disc on the Etcetera label.

As a student, Liebrecht Vanbeckevoort won several piano prizes and was a laureate of the International Steinway Competition. He has performed internationally and can often be heard on radio and television both home and abroad.

Telemann is the central figure of the German late baroque. These colourful suites illustrate his mastery of the genre displaying a wide variety of music; lively and sparkling, moving and captivating and never dull!

SCHOOL’S OUT (DELUXE EDITION) begins with a newly remastered version of the 1972 original, which peaked at #2 on the albums chart. Essential tracks like “Luney Tune” and “Alma Mater” are joined by “Gutter Cat vs. The Jets.” The latter is an homage to West Side Story, a significant influence on the band. The song incorporates lyrics from “Jet Song” from the 1957 musical, which led to an unlikely songwriting credit for Leonard Bernstein and Stephen Sondheim on an Alice Cooper track.

For its 125th birthday, Deutsche Grammophon is releasing legendary recordings with highest sound standards: The new audiophile vinyl series The Original Source presents outstanding recordings from the 1970s in a whole new sound quality. For this, the renowned Emil Berliner Studios have remastered and edited the original four-track tapes in 100% analog quality (AAA) using technologies developed specifically to produce the series.

Evan Parker made his first trip to North America as a performer in the fall of 1978 touring solo in the US and Canada. His landmark solo record Monoceros had been recorded in April. This is a recording of his first solo performance in New York City. While it may lack the sonic fidelity of Monoceros, its raw passion makes a statement to the New York audiences lucky to have been at Environ that October evening.

‘Council Skies’ is the highly anticipated fourth studio album from Noel Gallagher’s High Flying Birds released on 2nd June 2023.

Forget the album cover, which looks like homemade artwork on a CD handed out by a desperate artist patrolling the boardwalks in Venice Beach. Get Rollin' continues the back-to-basics approach Nickelback started with 2017's Feed the Machine, stripping away anything that doesn't contribute to their heavy-footed wallop.