Bill Nadeau, a singer, guitarist, and songwriter with a passion for blending blues, jazz, and rock.

Andréa Lisa, the South African-born and New Zealand-raised artist, is a musical powerhouse driven by personal experiences and her deep-rooted inspirations. As a singer, guitarist, composer and producer, Andréa’s diverse talents shine through in every aspect of her music.

Rising star violinist Chloe Chua presents a recording combining Chen Gang and He Zhanhao’s Butterfly Lovers Violin Concerto with Niccolò Paganini’s First Violin Concerto, performed together with the Singapore Symphony Orchestra, Rodolfo Barráez and Mario Venzago. The Butterfly Lovers Violin Concerto was written in 1959, and inspired by a tale often called the Romeo & Juliet of ancient China. Chen and He deftly combine a Western classical idiom with elements from Chinese opera, such as grace notes and portamento effects, and the work has become one of the most famous and acclaimed pieces of Chinese classical music. This album also features an interpretation of Chen Gang’s Sunshine over Tashkurgan, which adds Central-Asian maqam to the stylistic palette.

Composer Tina Davidson writes “For years I composed about a sense of connectedness to something larger than myself. But in this decade of life, I find myself returning to quieter issues.” On this inward looking, deeply personal release, Davidson’s chosen vehicle for exploring that relative quietude is chamber music for string instruments and piano. In these works for variations of the piano quintet, Davidson draws on the rich lineage of classical chamber music, and takes advantage of its unique capacity to explore Romantic style expression. Within that frame, she consistently diverges from expectations, putting her individual compositional stamp on each piece and reclaiming well traveled textural territory for a unique expression of the artistic moment in which she finds herself.

As part of the Royal Academy of Music Bicentenary Series, Hadewych van Gent explores innovative voices of the cello repertoire in a bold first album on Linn. The warm, intimate opening piece is Hadewych’s own take on Colla parte by Dutch cellist and composer Ernst Reijseger who continues to inspire Hadewych to this day. Pianist Yupeng He joins Hadewych for Rebecca Clarke’s passionate Sonata, which was originally composed for the viola; Hadewych is one of the first cellists to record the work. The album ends with Pianissimo, the second movement of Grāmata čellam by Pēteris Vasks which combines, as in Colla parte, singing with cello playing, thus creating an authentic form of expression and adding Hadewych’s own voice to the composer’s.

Albert Hermann Dietrich is best known through his association with the Schumanns and his friendship with Brahms, but as this recording shows, his contribution to this circle’s artistic activities went further than promoting their works as music director at the small grand-ducal court of Oldenburg. The Symphony in D minor has a strong kinship with Brahms and was one of the most frequently performed new symphonies of its day, while the originality and variety of orchestral colour in the Violin Concerto are impressive enough to have earned it a place in the concert repertory.

This new collection of music for two pianos by Mozart features pianists Ivo Varbanov and Fiammetta Tarli, alongside the English Chamber Orchestra and Muhai Tang. Renowned for their wide-ranging careers as soloist and ensemble players, Varbanov and Tarli present performances of Mozart's Concerto for 2 Pianos and Orchestra, K365, Concerto for 2 Pianos and Orchestra, K242, and Sonata for 2 Pianos, K448/375a.

Wolf-Ferrari was a composer of great artistic merit, Italian by nationality but raised in Germany, unfairly forgotten and deserving of rediscovery. His works meld compositional and spiritual elements with a preference for melodic purity and smooth harmonies, a passion for clear and linear forms inspired by Classical-era Vienna, and a meticulous approach. His aversion to complexity and his love of clarity and simplicity – as far removed from the operatic verismo movement as from the experiments of the avant-garde – meant he was, in a certain sense, an isolated figure, yet he knew that, despite the nostalgia in his writing, he had his own vibrant and original voice. His writing for strings displays expert compositional technique and a thorough technical knowledge of the instruments.

Over the course of a long but ultimately frustrated career as a late-Romantic lyric composer, Francesco Cilea ascribed to one credo above all: ‘Be Italian’. In L’Arlesiana and Adriana Lecouvreur, above all, he created masterpieces of the new style of verismo which kept sung drama in Italian at the centre of wider notions of what opera means. Everything he wrote, from large-scale stage works, to chamber pieces to the salon songs and miniatures gathered here, expressed his quintessentially Italian voice and aesthetic philosophy.

Dedicated to spreading awareness of Carnatic (South Indian classical) music throughout the West, Jyotsna Srikanth interprets compositions from revered 15th- and 18th-century Carnatic composers. Exhibiting a range of beautiful ragas derived from the traditional Melakarta system, all pieces feature her exceptional fingering technique and the delightful fusion of musical expression and emotion.

Franco Margola (1908–1992) was an Italian composer who was active throughout the 20th century. During his lifetime, he dedicated himself to composing pieces for musicians in the academic sector, where he found fertile ground and was widely commissioned for both pedagogical and non-educational purposes. His career included various teaching and leadership posts at several Italian conservatoires, not least the Conservatorio di Musica ‘Arrigo Boito’ in Parma, where he taught composition from 1963 to 1975. Here, thanks to a collaboration with the guitar teacher Renzo Cabassi, he began to compose numerous works for guitar (approximately 250 opus numbers).

The lyre-guitar was a fascinating, upmarket instrument that originated in Paris. Its inventor, luthier Pierre-Charles Mareschal, dated its creation to around 1780. It was very popular in the elite salons of Napoleonic era-Europe, between the late 18th and early 19th century. Its refined, elegant shape recalling the ancient Greek lyre, made it a much-vaunted status symbol among women, who believed it enhanced their grace and beauty. As well as being played by noblewomen, it was also used by musicians to accompany singers, including the French tenor Joseph Dominique Fabry-Garat and the Austrian baritone Johann Michael Vogl, a close friend of Franz Schubert.

This album features solo keyboard arrangements of works by Carl Philipp Emanuel Bach originally scored for other instruments. In the second half of the eighteenth century the demand for keyboard music increased rapidly, as musical skills became a social requisite for young ladies of the upper classes. Providing compositions for these new keyboard players was financially profitable, but Bach also had another reason for welcoming arrangements: keyboard instruments were his favourite medium.

In Your Honor is the fifth studio album by American rock band Foo Fighters, released on June 14, 2005, through Roswell and RCA Records. It is a double album, with the first disc containing heavy rock songs and the second containing mellower acoustic songs.

Today, impassioned singer-songwriter Beth Hart releases her beautiful new single, "You Still Got Me." The song is released on Provogue / Mascot Label Group and is available on all streaming platforms.