What kind of music could be better suited for the Berliner Philharmoniker’s legendary annual Waldbühne concert than Czech music? It’s always passionate and full of verve and sure to lift everyone’s spirits. Only very rarely does a young talent ascend to ‘world stardom’, but one of the few who can be considered an international superstar while still belonging to the new generation of conductors is Yannick Nézet-Séguin. He presents the much-loved Vlatava (Moldau) as well as Dvořák’s Sixth Symphony and Violin Concerto with the wonderful Lisa Batiashvili on the violin.

Stilelibero (Freestyle) is the eighth studio album by Italian rock singer Eros Ramazzotti, released on October 30, 2000 , on the BMG label. The album, featuring three tracks produced by Trevor Horn and two by Rick Nowels, was recorded in a variety of locations in London, California and Italy. Stilelibero was a commercial success, topping the Italian albums chart, as did the lead single, "Fuoco nel fuoco" also topping the singles chart. "Più che puoi", a duet with Cher, also reached the Italian top 20.

It is easy to imagine Dietrich Buxtehude’s enthusiasm when he received into his hands the text to Membra Jesu Nostri, which has been ascribed to Bernard of Clairvaux (c. 1090-1153). The text forms an account of the crucified limbs of Christ (feet, knees, hands, side, chest, heart and face) and its sensitive style relates strongly to sixteenth and seventeenth century Pietism, the central focus of which is emotion and passionate expression.

One of the group's better albums, despite coming so late in their history that it was ignored by almost everyone. "Hope," "Fire Brothers," and "Don't Cry for My Lady Love" are among the best songs the group ever cut, and "I Found Love" is one of the prettiest, most upbeat songs ever to come from any classic San Francisco band. Some of the rest is self-indulgent, but that's what this era of music was about - the guitar pyrotechnics of "Song for Frisco" and "Play My Guitar" make them both more entertaining than their somewhat bland melodies; the latter song, in particular, sounds like a Marty Balin/Jefferson Airplane outtake that would have been right on target about four years before the release date of this album…

Men at Work are an Australian rock band who achieved international success in the 1980s. They are the only Australian artists to have a simultaneous #1 album and #1 single in the United States (Business as Usual and "Down Under" respectively). They achieved the same distinction of a simultaneous #1 album and #1 single in the United Kingdom. The group won the 1983 Grammy Award for Best New Artist and sold over 30 million albums worldwide. The band's sound is distinguished by its use of woodwind and brass instruments.

"Weight of the World" is a song performed by Ringo Starr, released on his 1992 album, Time Takes Time. Written by Brian O'Doherty and Fred Velez, the song was released as a lead single backed with "After All These Years", and "Don't Be Cruel" (the latter was only on the CD single)…

Pianist Benny Green proves himself to be a seasoned composer on this collection of originals. "The Sexy Mexy" nods to Horace Silver with some crisp unison guitar from Russell Malone. The upbeat "Central Park South" features Stanley Turrentine, while the pianist's hypnotic "Thursday Lullaby" shows off his considerable chops. Ron Carter and Lewis Nash round out the capable rhythm section.

Five CD box set containing a quintet of their albums housed together in an attractive slipcase: Chicago Transit Authority (1969), Chicago II (1970), Chicago V (1972), Chicago VI (1973) and Chicago VII (1974). While Chicago are oft remembered as a Pop/Rock hit making machine, their musical roots were Jazz-oriented and this quintet of albums features the band blending their commercial sensibilities with their excellent Jazz/Rock musicianship

Jean Lauxerois begins his notes to Marc Coppey’s recording of J.S. Bach’s Cello Suites by enumerating the many reasons why yet another version of these familiar works “to swell the ever-growing ranks” is superfluous, then explains Coppey’s decision to ignore the arguments as “obedience to a deeper logic, a feeling of necessity”. Lauxerois offers many examples of this “deeper logic”–such as that the Suites somehow correspond to the six days of creation (and on the seventh day God rested…), or that the Suites somehow possess an internal universal code summarizing Leibnitz’s best-of-all-possible-worlds theorem. While it’s impossible to know exactly how obedient Coppey has been to this “deeper logic”, thankfully he delivers an expertly performed set that on purely musical terms renders such rhetorical tripe irrelevant.

Heavily rooted in the romantic tradition of the best Italian progressive rock, Il Paese Dei Balocchi blends beautiful instrumental passages with heavy classical orchestration. This is pure symphonic prog the way it was meant to be played and heard. This album dives from the gentle touch of the softest symphonic prog to a medium tempo jazz influenced atmosphere. Like Banco, PFM and Le Orme, Il Paese Dei Balocchi displays awesome keyboard driven progressive creating the most interesting melodies and warm atmospheres. This album is not unlike a grand epic soundtrack really and offers the listener a deep conceptual atmosphere to get lost in. This album also varied widely from the chimes of a nursery to the deep gothic pillars of a church organ. Outstanding and clever recording.

New age composer/keyboardist Davol had an early interest in music, receiving classical piano training as a child and studying jazz and classical harpsichord in college. Since the acquisition of a micro Moog synthesizer at the age of 13, he had an undying passion for electronic music and was addicted to the music of Vangelis, Jean-Michel Jarre, Kraftwerk and Tangerine Dream. Davol began writing and recording his own pieces as a hobby while he studied microbiology. Some of the tapes he passed out to friends made their way to Silver Wave Records, who offered Davol a recording contract. Davol's second Silver Wave release ("Paradox") explores a mix of imaginary aural landscape and personal themes with a rhythmic and exotic feel.